Ms. Wolfe's "Stronghold" is for eight double basses, with amazingly dramatic sonorities.
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He bought cheap seats and sat on the onstage podium behind the double basses.
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You feel a sound through your feet — bass drums and double basses, rumbling softly, like distant thunder.
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"My heart is beating like the double basses in the card scene," a pleased Puccini was quoted as saying.
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Her "Dies Irae," from 1973, calls for eight double basses, a piano and a percussionist who pounds a large wooden box.
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In the first four bars, bassoons, cellos, and double basses make a stark, columnar sound that conjures the forest in which the drama begins.
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" The high strings produced fierce tremolos in the "Meadows" movement, and the percussionists and double basses sketched a harrowing, thundering "March to the Scaffold.
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Mbaqanga was played on acoustic guitars and double-basses, with girls singing close harmony while the miners danced in rubber work boots, stamping away their sorrow.
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The centerpiece of the program was Ustvolskaya's Composition No. 2, "Dies Irae" (1973), which features eight grinding double basses, a hyper-dissonant piano, and a wooden cube being thwacked with two hammers.
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The conductor Yuri Temirkanov, running counter to most modern seating plans, lined up his double basses along the left wall of the stage rather than on the right or at the rear.
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The orchestration is at once luminous and shadowy: in the prelude to Act III, groping music for cellos, double basses, and harp suggests Debussy's "Pelléas et Mélisande," which had yet to be finished.
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At one point during the rehearsal, Ms. Haïm encouraged the double basses to take charge of a line and give it a more distinct contour by varying the length and weight of the notes.
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"My heart was beating like the double basses in the card scene," Puccini told The New York Times in 1910, after the premiere of his Western-themed "La Fanciulla del West" at the Metropolitan Opera.
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The quintet—which is comprised of musicians with multiple years' worth of experience in the country's alt-rock scene—has a heavy, atmospheric sound full of double-basses and syncopated rhythms that constantly strive for experimentation.
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Yamaha, which makes instruments and equipment ranging from pianos and double basses to drums and heavy-duty speakers, thanked people in the second tweet for liking its first post, which was retweeted more than 50,000 times.
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The music builds in intricacy but remains oddly reticent, with unsettling snaps and buzzes ("gritty, funky, but in strict tempo," Mr. Adams indicates for this first section) from the double basses and an electric bass, located on opposite sides of the orchestra.
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Its departure point was the lovely sound of works like the Dvorak and Tchaikovsky serenades, which Ms. Meyer quickly complicated, by dividing and redividing lines, and roughed up with astringent effects, like a creaking and croaking among the double basses midway through, which was then offset by squealing violins.
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The meaning was less explicit — though clearly apocalyptic — in Mr. Hersch's furious Violin Concerto; a blaring brass improvisation on a Byzantine chant; and Galina Ustvolskaya's grandly depressing 1973 "Dies Irae" for piano, a growling group of double basses and a player who hacks mercilessly with hammers on a coffinlike box.
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Part-way through one number came an ominous rumble of timpani and a creeping darkness from the double basses as a baritone full-throatedly announced: "I have become…comfortably numb…" One of the more remarkable new operas of recent times will open in Montreal on March 11th: "Another Brick in the Wall", based on Pink Floyd's double-album "The Wall".
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Les Danaïdes was orchestrated for first violins, second violins, violas, cellos, double-basses, timpani and harpsichord.
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Ensembles made up entirely of double basses, though relatively rare, also exist, and several composers have written or arranged for such ensembles. Compositions for four double basses exist by Gunther Schuller, Jacob Druckman, James Tenney, Claus Kühnl, Robert Ceely, Jan Alm, Bernhard Alt, Norman Ludwin, Frank Proto, Joseph Lauber, Erich Hartmann, Colin Brumby, Miloslav Gajdos and Theodore Albin Findeisen. David A. Jaffe's "Who's on First?", commissioned by the Russian National Orchestra is scored for five double basses.
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The work is scored for a conventional string orchestra of violins I and II, violas, cellos, and double basses.
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Gustav Mahler arranged this quartet for string orchestra, mostly by doubling some of the cello parts with double basses.
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Their ancestral knowledge of wood, techniques and music combine to produce guitars, violins or harps, double basses, and bandores.
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The work is scored for an ensemble consisting of violin, piano, and strings (violins I & II, violas, violoncellos, and double basses).
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The work is scored for solo piano and a string orchestra comprising first and second violins, violas, cellos, and double basses.
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1957 King Mortone Headstock showing the distinctive engraved brass plate tuning machines As with the American Standard double basses also made by H. N. White, the King Mortone basses had a longer than usual -inch mensure (scale length), which was about 2 inches longer than most size double basses. This makes them somewhat more difficult to play for some players, though it is a key component of the characteristic sound of these basses. "King Mortone" basses are often considered some of the finest double basses for jazz ever to have been made especially for the slap bass style.
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Timpani now had softer heads, but the trumpets still rasped, and doubled horns roared and pooped their exuberant contributions while double-basses grunted primevally below.
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Bruno Destrez (born September 13, 1959 in Épernay, France) is a French/American bassist, composer, and luthier specializing in the construction and repair of double basses.
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The symphony is scored for a chamber orchestra of a flute, oboe, clarinet, bassoon, two horns, trombone, bells, and strings (violins, violas, cellos, and double basses).
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Pietro Capodieci's production includes violins, violas, cellos and double basses. He uses woods of the highest quality, in particular the rare and sought-after “Birdseye Maple”.
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During the Second World War production had stopped, but by this point approximately 1200 basses had been made. In 1946 production resumed and continued steadily until 1965, when the string department of H. N. White was sold to Kay Double Basses. By this point approximately 5000 basses had been made. When Kay had control of King Mortone Basses, they stopped production and used the factories to make Kay Double Basses.
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The premiere of this work, as well as of Beethoven's seventh symphony was performed on 8 December 1813 in the University's Festsaal, with Dragonetti leading the double basses.
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2 Flutes, 2 Oboes, 2 Clarinets, Bass Clarinet, 2 Bassoons; 2 French horns, 2 Trumpets, Timpani, Xylophone, Percussion: triangle, suspended cymbal, cymbals; First violins, Second violins, Violas, Violoncellos, Double Basses.
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But unlike an actual symphony with its distinct movements, the overture's parts transition from one to the next without a break. Prelude: Dawn The prelude is a slow passage in E major, scored for five solo cellos accompanied by double basses. It begins in E minor with a solo cello which is in turn 'answered' by the remaining cellos and the double basses. An impending storm is hinted at by two very quiet timpani rolls resembling distant thunder.
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The score of this work calls for 4 French horns in F, 4 trumpets in C, 3 trombones, bass tuba and a four- section string orchestra of violins, violas, cellos and double basses.
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It is scored for 1st violins (sometimes in two parts), 2nd violins (in two parts), violas (in two parts), cellos and double basses. The many parts allow for a thick texture when required.
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4–7) The bass ostinato again asserts itself early on, firmly linking the finale with the previous movements. The timpani carry the melody with celli and double basses in accompaniment. Example 17: Rhythmic pattern (mm.
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The cellos and double basses introduce the Adagio section in a serene, unison cantabile, before the rest of the string section joins. Again, however, the cellos and double basses descend before the piano joins, in una corda. The piano uses the string theme and develops it further, playing in a nocturne-like style with soft, flowing left hand arpeggios and a cantabile melody in the right hand. The section reaches a climax where a strong fortissimo is played followed by a descending diminuendo scale.
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Stravinsky scored the Danses concertantes for a chamber orchestra consisting of flute, oboe, clarinet, bassoon, two horns, trumpet, trombone, timpani, and a string section specified as six violins, four violas, three cellos, and two double basses .
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Around 80 of his instruments are known to have survived to the present day: violins (small and large), alto and tenor violas, viols, violones and double basses, violas designed with only a pair of corners, and ceteras.
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The full-orchestra version is scored for 3 flutes (2nd and 3rd doubling piccolo), 2 oboes (2nd doubling 2nd English horn), English horn, 2 clarinets, bass clarinet, 2 bassoons, 4 French horns, 3 trumpets, 3 trombones, tuba, timpani, cymbals, bass drum, tamtam, celesta, harp, organ, and strings (violins, violas, cellos, and double basses). The reduced-orchestra version is scored for 3 trumpets, timpani, harp, organ, and strings (violins, violas, cellos, and double basses). The organ part used in the reduced version is different from the organ part used in the version for choir and organ.
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The double bass's proportions are dissimilar to those of the violin and cello; for example, it is deeper (the distance from front to back is proportionally much greater than the violin). In addition, while the violin has bulging shoulders, most double basses have shoulders carved with a more acute slope, like members of the viol family. Many very old double basses have had their shoulders cut or sloped to aid playing with modern techniques. Before these modifications, the design of their shoulders was closer to instruments of the violin family.
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Thunderstuck is scored for three flutes, three oboes, two clarinets, bass clarinet, two bassoons, contrabassoon, four French horns, three trumpets, three trombones, tuba, harp, timpani, percussion (three players), and strings (violins I & II, violas, violoncellos, and double basses).
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The work is scored for solo piano and an orchestra consisting of two flutes, two oboes, two clarinets, two bassoons, four French horns, two trumpets, three trombones, timpani, tambour, and strings (violins I & II, violas, violoncellos, and double basses).
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The work is scored for full string orchestra, with staves for Violin I & 2, Viola, Cello and Contrabass (double bass). It is typically performed with 4–6 instruments per part, though usually 2 or 3 double basses are sufficient.
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In many nineteenth century symphonies and concertos, the typical impact of separate bass and cello parts was that bass parts became simpler and cello parts got the melodic lines and rapid passage work. A double bass section of a modern orchestra typically uses eight double bassists, usually in unison. Smaller orchestras may have four double basses, and in exceptional cases, bass sections may have as many as ten members. If some double bassists have low C extensions, and some have regular (low E) basses, those with the low C extensions may play some passages an octave below the regular double basses.
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The symphony is scored for piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, three bassoons, four French horns, three trumpets, three trombones, tuba, harp, timpani (two players), percussion (three players), and strings (violins I & II, violas, violoncellos, and double basses).
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The symphony is scored for piccolo, two flutes, two oboes, English horn, two clarinets, contrabass clarinet, two bassoons, contrabassoon, four French horns, three trumpets, four trombones, tuba, timpani, percussion (three players), harp, celesta, and strings (violins I & II, violas, violoncellos, and double basses).
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The symphony is scored for piccolo, two flutes, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four French horns, four trumpets, four trombones, tuba, two harps, timpani, percussion (three players), and strings (violins I & II, violas, violoncellos, and double basses).
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The concerto is scored for solo oboe and an orchestra comprising two flutes, piccolo (doubling alto flute), two clarinets, two bassoons, two French horns, two trumpets, three trombones, percussion (three players), harp, celesta, and strings (violins I & II, violas, violoncellos, and double basses).
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2 doubling clarinet in E, no. 3 doubling bass clarinet), 3 bassoons (no. 3 doubling contrabassoon), 4 horns, 4 trumpets, 4 trombones, tuba, timpani, percussion (2 players), harp, celesta, harpsichord, piano, and 8 each of violas, cellos and double basses. Note that violins are absent.
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The concerto is scored for a solo flute and orchestra comprising three flutes, two oboes, two clarinets, two bassoons (2nd doubling on contrabassoon), four French horns, two trumpets, three trombones, tuba, harp, timpani, percussion (three players), strings (violins I & II, violas, violoncellos, and double basses).
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Camillo Camilli (c. 1704 – 1754)Cozio.com: Violins, violas, cellos & double basses made by Camillo Camilli was a notable master luthier of the 18th century. The instruments of Camilli, most of which he made in Mantua, in northern Italy, are prized by string musicians to this day.
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The Surprise Symphony is scored for a Classical-era orchestra consisting of two each of flutes, oboes, bassoons, horns, trumpets, plus timpani, and the usual string section consisting of violins (first and second), violas, cellos, and double basses. Performances of the Surprise Symphony last about 23 minutes.
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The work is scored for two flutes (one doubling on piccolo), two oboes, two clarinets, two bassoons, contrabassoon, four French horns, two trumpets, three trombones, tuba, timpani, snare drums, rattle, tambourine, triangle, cymbals, tamtam, bass drum, and strings (violins I & II, violas, violoncellos, and double basses).
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Bertold Hummel wrote a Sinfonia piccola for eight double basses. Larger ensemble works include Galina Ustvolskaya's Composition No. 2, "Dies Irae" (1973), for eight double basses, piano, and wooden cube, José Serebrier's "George and Muriel" (1986), for solo bass, double bass ensemble, and chorus, and Gerhard Samuel's What of my music! (1979), for soprano, percussion, and 30 double basses. Double bass ensembles include L'Orchestre de Contrebasses (6 members),Official website of L'Orchestre de Contrebasses Bass Instinct (6 members), Bassiona Amorosa (6 members), the Chicago Bass Ensemble (4+ members), Ludus Gravis founded by Daniele Roccato and Stefano Scodanibbio, The Bass Gang (4 members), the London Double Bass Ensemble (6 members) founded by members of the Philharmonia Orchestra of London who produced the LPMusic Interludes Music Interludes by London Double Bass Ensemble on Bruton Music records, Brno Double Bass Orchestra (14 members) founded by the double bass professor at Janáček Academy of Music and Performing Arts and principal double bass player at Brno Philharmonic Orchestra – Miloslav Jelinek, and the ensembles of Ball State University (12 members), Shenandoah University, and the Hartt School of Music.
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Today, the band now uses traditional instruments such as the Mridangam, the Tabla, and the Carnatic. The band also has made enhancements in recent years to include the addition adding a large string section comprising violins, violas, cellos and double basses to make it a complete symphonic orchestra.
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Traditional electric bass guitars have four strings, tuned the same as double basses: E1–A1–D2–G2. However, now there are many options, with five-, six-, and more string designs, with many approaches to tuning. In addition to traditional flatwound strings, choices now include various windings and materials.
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The suite calls for piccolo, two flutes, two oboes, cor anglais, two clarinets in B-flat, two bassoons, four horns in F, two trumpets in B-flat, three trombones, tuba, three timpani, cymbals, triangle, various Chinese percussion instruments, celeste, harp, first and second violins, violas, celli, and double basses.
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The piece is scored for solo trumpet and orchestra comprising three flutes (third doubling on piccolo), three oboes, three clarinets, three bassoons (third doubling on contrabassoon), four French horns, three trumpets, three trombones, tuba, harp, timpani, percussion (three players), and strings (violins I & II, violas, violoncellos, and double basses).
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Shortly after the killing spree the house was surrounded by armed police. McKenzie barricaded himself inside the bathroom using a variety of items including a wardrobe and two double basses. A siege ensued lasting four-and-a-half hours. A police marksman went into the attic with a CS gas gun.
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Grancino's workshops were all located on Contrada Larga, now Via Larga in Milan. His instruments bear the characteristic segno della corona (mark of the crown). See German source in Bibliography. Although the luthiers of Milan created instruments of varying quality, Grancino's violins, violas, cellos and double basses are considered superior.
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Rapture is scored for orchestra comprising three flutes, three oboes, three clarinets, three bassoons, four French horns, four trumpets, four trombones, tuba, harp, timpani (two players), three percussionists (bass drum, five triangles, tam-tam, China cymbal, suspended cymbal, chimes, glockenspiel, and antique cymbals), and strings (violins I & II, violas, violoncellos, and double basses).
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The concerto is scored for solo oboe and a small orchestra divided into two groups. The concertino group consists of the oboe, violas, and a percussionist. The larger group comprises flute (doubling piccolo, alto flute), clarinet (doubling bass clarinet), horn, trombone, one additional percussionist, and strings (violins I & II, violoncellos, and double basses).
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The Orchestral Suite No. 3 calls for: 3 flutes (one of them piccolo), 2 oboes, 1 English horn, 2 clarinets (in A), 2 bassoons, 4 horns (in F), 2 trumpets (in F and D), 3 trombones, tuba, timpani, side drum, tambourine, triangle, cymbals, bass drum, harp and strings (violins 1 & 2, violas, celli, double basses).
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486 The full tally of instruments, apart from the piano, comprises piccolo, flute, oboe, cor anglais, E clarinet, clarinet in B and A, 2 bassoons, 2 horns in F, trumpet in C, trombone, timpani, triangle, snare drum, cymbals, bass drum, tamtam, wood block, whip, harp, 16 violins, 6 violas, 6 cellos, and 4 double basses.
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The work is scored for the following orchestra: :woodwind: 3 flutes (3rd also piccolo), 2 oboes, 2 clarinets, 4 bassoons :brass: 4 horns, 8 trumpets (4 offstage), 3 trombones, Ophicleidean obsolete instrument usually replaced by a tuba or cimbasso in modern performances :percussion: timpani, bass drum :strings: violins I, II, violas, violoncellos, double basses.
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This is the first opera Nyman has scored with his band in mind. The studio recording includes five violins, two violas, one cello, two double basses, two each soprano and alto saxes (doubled), baritone sax, flute, alto flute, piccolo, trumpet and flugelhorn (doubled), French horn, bass trombone (doubled), tuba (doubled), euphonium (doubled), and electric guitar.
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Some pickup manufacturers produce piezoelectric pickups that purportedly provide a natural reproduction of arco sound. Preamplifiers and equalizers for acoustic instruments or double basses can also be used to "roll off" the treble frequencies or "notch out" the "scratchy-sounding" frequencies. An external parametric equalizer could also be used to remove unwanted "scratchy" sounds.
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The orchestral score requires 1 flute, 2 oboes, 3 clarinets, 2 bassoons, 2 horns, 1 trumpet, 1 trombone, timpani, percussion (various instruments), piano and strings (6 violins I, 6 violins II, 4 violas, 3 violoncellos, 2 double basses). Apart from the vocal soloists, a small chorus (or a vocal quartet or quintet) is also required.
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Giannini is a Brazilian musical instruments manufacturing company, based in Salto, São Paulo. Products currently manufactured by Giannini include electric, steel-string acoustic, nylon-string acoustic and bass guitars. Other string instruments include craviolas, cavaquinhos, viola caipiras and mandolins. Giannini also manufactures bowed string instruments such as violins, cellos and double basses, and strings for those instruments.
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The symphony is scored orchestra, a mixed choir and two soloists (mezzo-soprano and baritone). ;Woodwinds: :2 Flutes :2 Oboes :2 Clarinets :2 Bassoons ;Brass: :4 French Horns in F :2 Trumpets :3 Trombones ;Percussion: ;Voices: :Mezzo-Soprano Solo :Baritone :Mixed Chorus ;Strings: :Harp :First and Second Violins :Violas :Violoncellos :Double basses (with low C extension).
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The concerto is scored for a solo trombone and orchestra, comprising two bassoons, contrabassoon, four French horns, three trumpets, three trombones, tuba, harp, timpani, xylophone, glockenspiel, chimes, marimba, two suspended cymbals, snare drum, tenor drum, five tom-toms, two bongo drums, bass drum, a pair of crash cymbals, two tamtams, and strings (violins I & II, violas, violoncellos, and double basses).
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The piece is scored for two flutes (2nd doubling on piccolo), two oboes (2nd doubling on oboe d'amore and English horn), two clarinets (2nd doubling on bass clarinet), two bassoons (2nd doubling on contrabassoon), four French horns (all doubling Wagner Tubas), three trumpets, three trombones, tuba, timpani, percussion (three players), and strings (violins I & II, violas, violoncellos, and double basses).
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All material in this article derives from Robbins Landon unless otherwise noted. The work was composed for a large Parisian orchestra called Le Concert de la loge Olympique (Orchestra of the 'Olympic' (Masonic) Lodge). This organization consisted in part of professionals and in part of skilled amateurs. It included 40 violins and ten double basses, an extraordinary size of orchestra for the time.
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Scholes, plate 73. Lower-pitched orchestral instruments such as cellos and double basses were often doubled (or replaced) by louder instruments, such as tubas. Standard violins in orchestral ensembles were commonly replaced by Stroh violins, which became popular with recording studios. Even drums, if planned and placed properly, could be effectively recorded and heard on even the earliest jazz and military band recordings.
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In 1882 he became a member of the Royal Swedish Academy of Music (Kungliga Musikaliska Akademien).Andersen, Anton Jörgen (Nordisk familjebok) His compositions include a cello sonata (1877), a concert piece for cello and double bass, and five symphonies (one of which was scored for 14 cellos and 3 double basses), as well as pieces for piano and songs for male choir.
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Montagnana was born in Lendinara, Italy in 1686. His father, Paolo, was a shoemaker. He made stringed musical instruments (violins, violas, cellos and double basses) in Venice. He was apprenticed in Matteo Sella's workshop (probably also associated with Matteo Goffriller) and after that he opened his own shop, active from 1712, located in Calle degli Stagneri, with insignia "Alla Cremona".
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In 1856, Rocca married a fifth time to Filomena DeFranchi. Rocca was found dead one night in January 1865 in a well in the gardens of Pila, Genoa, near the Bisagno river. His work became celebrated and well appreciated a few decades after his death. His production was consistent on the violins, violas, cellos, double basses, and guitars he made.
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Atmosphères is scored for 4 flutes (all double piccolo), 4 oboes, 4 clarinets (4th also E clarinet), 3 bassoons, contrabassoon, 6 horns, 4 trumpets, 4 trombones, tuba, piano (played by 2 percussionists), and strings (14 first violins, 14 second violins, 10 violas, 10 cellos, 8 double basses).The score is published by Universal Edition. Ligeti's homepage also gives the instrumentation.
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Until the 1990s, child-sized double basses were not widely available, and the large size of the bass prevented children from playing the instrument until they grew to a height and hand size that allowed them to play a -size model (the most common size). Starting in the 1990s, smaller , , , and even -sized instruments became more widely available, so children could start younger.
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The Mandolin "Estudiantina" of Mayenne, France around 1900 when Mandolin orchestras were at the height of their popularity A mandolin orchestra is an orchestra consisting primarily of instruments from the mandolin family of instruments, such as the mandolin, mandola, mandocello and mandobass or mandolone. Some mandolin orchestras use guitars and double-basses instead of, or as well as, the lower mandolin-family instruments.
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Waltz 3A starts with a brief intrada and is decorated with trills whereas waltz 3B's principal melody is carried by cellos and double basses. Waltz 4A is livelier than the previous waltz part and waltz 4B is dominated by the flute. Waltz 5B has a timpani beat and waltz 5B reconciles the earlier cheerful sections. A brief coda is introduced and waltz 1B is repeated.
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Gramophone CD Review, David Allen, January 6, 2017 It follows the traditional three-movement concerto structure and lasts about 30 minutes. The piece starts with the violin playing in the extremely high register, in striking contrast with the accompanying low cellos and double basses. Tension increasingly grows as the music progresses and more instruments intervene. The second movement is the longest of the three.
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Schenker considered Furtwängler as the greatest conductor in the world and as the "only conductor who truly understood Beethoven".CD Furtwängler, Beethoven's Choral Symphony, Tahra FURT 1101–1104, p. 19. Furtwängler's recordings are characterized by an "extraordinary sound wealth ", special emphasis being placed on cellos, double basses, percussion and woodwind instruments.David Cairns, CD Beethoven's 5th and 6th Symphonies, 427 775-2, DG, 1989, p. 16.
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Ampeg is a manufacturer best known for its bass amplifiers. Originally established in 1946 in Linden, New Jersey by Everitt Hull and Stanley Michaels as "Michaels-Hull Electronic Labs," today Ampeg is part of the Yamaha Guitar Group. Although specializing in the production of bass amplifiers, Ampeg has previously manufactured guitar amplifiers and pickups and instruments including double basses, bass guitars, and electric guitars.
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All parts of the orchestra were original Baroque instruments. There were used: 17 violins, 7 viols, 5 cellos, 3 double basses, 4 oboes, 3 flutes, 2 bassoons, 2 recorders, 2 trumpets, 1 chalumeau and theorbo, timpani, harpsichord and positive organ. Vocal casting included 2 sopranos, 2 tenors, countertenor, bass and boy's choir. The tradition of Jesuits did not allow the use of female figures in the play.
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Aside from guitars, Epiphone also made double basses, banjos, and other string instruments. However, the company's weakness in the aftermath of World War II and death of Epaminondas Stathopoulos in 1943 allowed Gibson to purchase it. Epiphone also manufactures resonator guitars under the Dobro brand. The name "Epiphone" is a combination of proprietor Epaminondas Stathopoulos' (Επαμεινώνδας Σταθόπουλος) nickname "Epi" and "phone" (from Greek phon- (φωνή), "voice").
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Some early double basses were conversions of existing violones. This 1640 painting shows a bass violone being played. The term violone (; literally "large viol" in Italian, "-one" being the augmentative suffix) can refer to several distinct large, bowed musical instruments which belong to either the viol or violin family. The violone is sometimes a fretted instrument, and may have six, five, four, or even only three strings.
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The piece is scored for an orchestra consisting of flute, piccolo, two oboes, clarinet, bass clarinet, two bassoons, two French horns, two trumpets, one percussionist (two latin cowbells; low, medium, and high Agogô bells; ride cymbal; splash cymbal; triangle; wind chimes; low and high bongo drums; maracas; claves; vibraslap; large whip; tambourine; and bell tree), piano, and strings (violins I & II, violas, violoncellos, and double basses).
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In musical terminology, divisi, or as typically printed “div.,” is an instruction to divide a single section of instruments into multiple subsections. This usually applies to the violins of the string section in an orchestra, although violas, cellos, and double basses can also be divided. Typically, 4-part French Horn sections include divided sections if Horns 1/2 and/or 3/4 are not playing the same music ("a2").
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Orchestra: 2 flutes (both doubling piccolo), 2 oboes (2nd doubling English horn), 2 clarinets (2nd doubling bass clarinet in C), 2 bassoons (2nd doubling contrabassoon); 3 horns, 2 trumpets, 3 trombones; timpani, 3 percussion (glockenspiel, triangle, tambourine, military drum, bass drum, cymbals, tam-tam, celesta); strings (8 violins I, 8 violins II, 6 violas, 6 cellos, 6 double basses). Stage music: 2 trumpets, timpani.Beaumont (1985), p. 219.Busoni (1918), pp.
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Maple is considered a tonewood, or a wood that carries sound waves well, and is used in numerous musical instruments. Maple is harder and has a brighter sound than mahogany, which is another major tonewood used in instrument manufacture. The back, sides, and neck of most violins, violas, cellos, and double basses are made from maple. Electric guitar necks are commonly made from maple, having good dimensional stability.
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Woodwinds: 2 flutes (2nd doubling piccolo), 2 oboes (2nd doubling cor anglais), 3 clarinets (2nd doubling Eb clarinet, 3rd doubling bass clarinet), 2 saxophones doubling on soprano and tenor, 2 bassoons (2nd doubling double bassoon). Brass: 4 French horns, 3 trumpets, 3 trombones, euphonium, tuba. Percussion: timpani, triangle, woodblock, tambourine, flexatone, ratchet, snare drums, cymbals, bass drum, tam-tam, xylophone, bayan, harmonium. Strings: violins, violas, cellos, double basses, banjo.
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The section principal in an orchestra, as well as any large musical ensemble, is the lead player for each respective section of instruments. For example, there are multiple sections in an orchestra. The strings, woodwinds, brass, and percussion sections all have subsections. The first violins, second violins, violas, cellos, double basses, flutes, clarinets, oboes, bassoons, trumpets, trombones, French horns, tubas, and percussion are all subsections, each led by a principal player.
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Besides the soloists, the symphony is scored for a chamber orchestra consisting only of strings and percussion. The strings consist of ten violins, four violas, three cellos, and two double basses, and the percussion section (three players) includes wood block, castanets, whip, soprano, alto and tenor tom-toms, xylophone, Tubular bells, vibraphone, and celesta. The percussion section does not include common instruments such as timpani, bass drum, cymbals, or triangle.
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The Bells is scored for soprano, tenor, and baritone soloists, mixed choir, and an orchestra of piccolo, 3 flutes, 3 oboes, cor anglais, 3 soprano clarinets, bass clarinet, 3 bassoons, contrabassoon, 6 horns, 3 trumpets, 3 trombones, tuba, timpani, 4 tubular bells, glockenspiel, triangle, tambourine, snare drum, cymbals, bass drum, tamtam, piano, celesta, harp, organ (ad lib), and the standard strings of I & II violins, violas, cellos, and double basses.
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This symphony demonstrates Dutilleux's attachment to the use of variation form, which is found in the outer two movements. The use of a passacaglia as a symphonic first movement is extremely rare. It consists of 35 repetitions of a four-bar bass motif, shown in the opening four bars by the double basses. The second movement was defined by Dutilleux as an 'original and energetic scherzo', and very 'virtuosic and demonstrative'.
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Route 66 is scored for two flutes, piccolo, two oboes, English horn, E-flat clarinet, B-flat clarinet, bass clarinet, two bassoons, contrabassoon, four French horns, four trumpets, three trombones, tuba, timpani, four percussionists (xylophone/glockenspiel; vibraphone; marimba; brake drum/two cowbells/two bongo drums or timbales/sizzle cymbal/medium ride cymbal/splash cymbal/three triangles/three wood blocks), harp, piano, and strings (violins I & II, violas, violoncellos, and double basses).
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The work is scored for piccolo, two flutes, two oboes, three clarinets (second doubling on E-flat clarinet, third doubling on bass clarinet), two bassoons, four French horns, three trumpets, two trombones, bass trombone, tuba, timpani, six percussionists (chimes, glockenspiel, xylophone, marimbas, triangle, anvil, tamtam, clash cymbals, castanets, wood block, snare drum, tenor drum, bass drum), celesta, piano, harp, and strings (violins I & II, violas, violoncellos, and double basses).
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Paul Tutmarc (May 29, 1896 – September 25, 1972) was an American musician and musical instrument inventor. He was a tenor singer and a performer and teacher of the lap steel guitar and the ukulele. He developed a number of variant types of stringed musical instruments, such as electrically amplified double basses, electric basses, and lap steel guitars. His second marriage was to his former student Bonnie Buckingham, known as Bonnie Guitar.
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Players also may use a small cart and end pin- attached wheels to move the bass. Some higher-priced padded cases have wheels attached to the case. Another option found in higher-priced padded cases are backpack straps, to make it easier to carry the instrument. Hard flight cases for double basses Hard flight cases have cushioned interiors and tough exteriors of carbon fiber, graphite, fiberglass, or Kevlar.
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Unlike her two previous albums, You Were Here and All of Our Names, I'm a Mountain is an acoustic folk and bluegrass album, for the most part. The instrumentation on the album consists mainly of acoustic guitars, double basses, fiddles, mandolins, and percussion. The entire album was completed in one week. Harmer noted this was due to most of the material having been previously worked out during her latest tour.
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The Traditional violin craftsmanship in Cremona (official name in Italian: Saperi e saper fare liutario della tradizione cremonese) was declared an intangible cultural heritage by UNESCO in 2012, during the 7th session of the Intergovernmental Committee in Paris. The Cremona's traditional violin making is an ancient form of handicraft typical of Cremona (Italy) where bowed string instruments like violins, violas, cellos and double basses have been made since the 16th century.
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The song was re-written with slightly more lyrics and recorded using eight double basses to mimic the didgeridoo, which Harris could not play at the time. A notable feature of this song is the playing of claves. The song's lyrical structure is simple with the vast majority of the lines starting simply "Sun Arise". The lyrics of the song came from a story Butler told him about Aboriginal beliefs.
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David Tecchler, sometimes also written Techler, Tekler, Deckler, Dechler,Willibald Leo Freiherr von Lütgendorff, Die Geigen und Lautenmacher vom Mittelalter bis zur Gegenwart, Frankfurt am Main : Frankfurter Verlags- Anstalt a. g., 1922, p. 507 (de) Decler, TecclerRené Vannes, Dictionnaire universel des luthiers, Bruxelles : Les Amis de la musique, 1951, p. 356 or Teckler,Les Spectacles, September 21, 1923 (1666–1748) was a German luthier, best known for his cellos and double basses.
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Karl Höfner GmbH & Co. KG is a German (originally Austro-Bohemian) manufacturer of musical instruments, with one division that manufactures guitars and basses, and another that manufactures other string instruments, such as violins, violas, cellos, double basses and bows for stringed instruments. Much of Höfner's popularity is attributed to Sir Paul McCartney's use of the Höfner 500/1 bass throughout his career. This violin-shaped model is commonly referred to as the "Beatle bass".
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The company was eventually sold to Gibson in 1987, although Steinberger remained part of the company for some time. Gibson still retains rights over the "Steinberger" name, precluding Ned Steinberger from calling his new instruments "Steinbergers". Ned Steinberger has operated a company called "NS Design" since 1990 and produces electric violin family instruments: double basses, cellos, viola, violin. All of these instruments have a number of interesting innovations in materials and design.
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Music for Orchestra is scored for piccolo, two flutes, three oboes (3rd doubling English horn), three clarinets (second doubling E-flat clarinet), three bassoons (3rd doubling contrabassoon), four French horns, four trumpets, four trombones, tuba, timpani, percussion (bass drum, bongo drums, chimes, glockenspiel, maracas, snare drum, suspended cymbals, tamtam, tambourine, timbales, triangle, vibraphone, wind machine, wood block, & xylophone), harp, piano (doubling on celesta), and strings (violins I & II, violas, violoncellos, and double basses).
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The tone is louder at harmonic relations of the bridge string length. On violins the tone can be very high, even above human hearing range. Depending on the instrument the pitch of the tones may or may not be perceived (cellos and double basses are more likely to produce recognizable pitches because of the longer length of their strings). This technique is used extensively in Krzysztof Penderecki's Threnody to the Victims of Hiroshima.
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The third movement, "Quid sum miser", is short, depicting after Judgement Day, featuring an orchestration of TTB chorus, two cors anglais, eight bassoons, cellos, and double basses. The "Rex tremendae" features the second entry of the brass choirs, and contains contrasting dynamics from the choir. "Quaerens me" is a quiet a cappella movement. The sixth movement, "Lacrimosa", is in 9/8 time signature, concluding the Sequence section of the Mass, is the only movement written in recognizable sonata form.
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The oratorio is scored for 2 sections of violins, violas, cellos, double basses, 2 flutes, 2 oboes, 2 bassoons, 1 contrabassoon, 2 horns, 2 trumpets, timpani, harpsichord, and organ. A harpsichord and violoncello play the continuo. Handel's music gives the choruses of Roman pagans, presented in the libretto as evil people gloating over the torture of Christians, "immense verve and charm". This is contrasted with the quiet, deep conviction of the music for the choruses of Christians.
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Wolfgang Amadeus Mozart's Piano Concerto No. 12 in A major, K. 414 (385p), was written in the autumn of 1782 in Vienna. It is scored for solo piano (or harpsichord), two oboes, two bassoons (optional), two horns, and strings (consisting of violins, violas, cellos, and double basses). Like all three of the early Vienna concertos that Mozart wrote, it is a modest work that can be performed with only string quartet and keyboard (i.e., "a quattro").
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It opens with a lyrical G minor theme in the cellos, horns, clarinets and bassoon with trombones, violas and double basses pizzicato. This gives way to a "bird call" flute melody, reaching the symphony's key G major. Writing about a performance by the National Symphony Orchestra, Peter Laki notes that the development section "works up quite a storm." In the recapitulation, the second main theme is played by the English horn, two octaves lower than in the exposition.
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Guitars, like double basses, sound an octave below the written note in typical notation. Piccolo, sopranino, soprano, bass and sometimes alto recorders, xylophone, and celesta sound an octave above the written note. Glockenspiel and garklein recorder sound two octaves above the written note. Most authorities include this type of notation under the umbrella "transposing instruments", According to this article, if an octave-transposing clef is used (with a small 8 above or below), the term "transposition" does not apply.
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In this composition, Dutilleux attempted to translate into musical terms the opposition between emptiness and movement conveyed by the painting. The work employs a string section of only lower-register instruments: cellos and double basses, no violins or violas. In 1985, Isaac Stern premiered L'arbre des songes [The Tree of Dreams], a violin concerto that he had commissioned Dutilleux to write. Like its cello counterpart, it is an important addition to the instrument's 20th century repertoire.
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Don Juan is scored for an orchestra with the following instruments: ;Woodwinds :3 flutes (3rd doubling piccolo) :2 oboes :1 English horn :2 clarinets in A :2 bassoons :1 contrabassoon ;Brass :4 horns in E :3 trumpets in E :3 trombones :1 tuba ;Percussion :timpani :triangle :cymbals :glockenspiel ;Strings :harp :violins I, II :violas :celli :double basses An orchestral score and a score for piano four hands was published by J. Aibl in Leipzig in 1890.
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He saw Teofane by Antonio Lotti, composed for the wedding of August III of Poland, and engaged leading members of the cast on behalf of the Royal Academy of Music. In April 1720 the Academy began producing operas. The orchestra consisted of seventeen violins, two violas, four cellos, two double basses, four oboes, three bassoons, a theorbo and a trumpet. The brothers Prospero and Pietro Castrucci as well as Johan Helmich Roman and John Jones were violinists.
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The orchestra is basically a chamber orchestra (a form of which is sometimes also called a "Mozart orchestra"), meaning that it has fewer musicians than a full-sized symphony orchestra (especially in the strings, since the number of woodwind, horn players and other musicians is less flexible), producing lighter, chamber-music-like sound. However, the number of musicians sometimes exceed this format: in its June 2012 concerts, for example, the orchestra played Ludwig van Beethoven's Egmont Overture and Robert Schumann's Piano Concerto and Second Symphony with 14 first violins, 12 second violins, 10 violas, 8 cellos and 5 double-basses (typical numbers in a symphony orchestra being 16 first violins, 14 second violins, 12 violas, 10 cellos and 8 double-basses). The orchestra acts as a meeting-place for young musicians from many countries, partly selected through the Orchestra Mozart Academy within the Philharmonic Academy, and experienced musicians. The latter have included violinist Giuliano Carmignola, violists Wolfram Christ and Diemut Poppen, double-bass player Alois Posch, oboist Lucas Macias Navarro, flautist Jacques Zoon, horn player Alessio Allegrini.
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When conducting opera, Bottesini would frequently bring his double bass on stage during the intermission to play fantasies on the evening's opera. His fantasies on Lucia di Lammermoor, I puritani and Beatrice di Tenda are virtuosic tours de force that are still popular with those who are highly accomplished on the instrument. Bottesini wrote three operas besides those previously mentioned: Il Diavolo della Notte (Milan, 1859); Vinciguerra (Paris, 1870); and Ero e Leandro (Turin, 1880), the last named to a libretto by Arrigo Boito, which was subsequently set by Luigi Mancinelli. He also wrote The Garden of Olivet, a devotional oratorio (libretto by Joseph Bennett), which was produced at the Norwich festival in 1887, eleven string quartets, a quintet for string quartet and double bass, and many works for the double bass, including two concertos for solo double bass, the Gran Duo Concertante (originally) for two double basses, Passione Amorosa for two double basses, numerous pieces for double bass and piano, and an instructional book ("Complete Method for Double Bass").
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American Journey is scored for three flutes (II doubling on Irish flute, III doubling on piccolo), two oboes, English horn, three clarinets (III doubling on bass clarinet), three bassoons (III doubling on contrabassoon), six French horns, four trumpets, four trombones, tuba, timpani, percussion (bass drum, chimes, cymbals, field drum, orchestral bells, small triangle, snare drum, suspended cymbal, tambourine, tamtam, triangle, vibraphone, xylophone), harp, piano, and strings (violins I & II, violas, violoncellos, and double basses) with optional accompaniment by two narrators.
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The second movement is another sonata-form movement, this time in and in the key of B major, the subdominant of the main key of the work. It begins with the strings playing a motif that imitates flowing water. The cello section is divided, with just two players playing the flowing-water notes on muted instruments, and the remaining cellos playing mostly pizzicato notes together with the double basses. Toward the end is a cadenza for woodwind instruments that imitates bird calls.
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Ghost Ranch is scored for two flutes (doubling piccolo), two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four French horns, three trumpets, two trombones, bass trombone, tuba, timpani, three percussionists (I=chimes/glockenspiel/bass drum/small slapstick/large slapstick/small woodblock; II=vibraphone/African rattle/bongos/crash cymbals/tambourine/small triangle/large woodblock; III=glockenspiel/xylophone/piccolo snare drum/suspended cymbal/medium triangle/metal wind chimes/medium woodblock/vibraslap), and strings (violins I & II, violas, violoncellos, and double basses).
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While the EUB retains some of the tonal characteristics of the double bass, its electrically amplified nature also gives it its own unique sound. As well, an EUB is considerably easier to transport than its acoustic equivalent. The scale length of EUBs varies: some scales are 42", similar to most double basses, whilst other models have scale lengths of only 30" like a short scale bass guitar. The shorter scale can make it easier for bass guitarists to convert to the EUB.
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"Together with the other double-basses tuned in fourths, a combination of open strings would be available, which would greatly increase the sonority of the orchestra." However a six-string double bass can be tuned in fifths (C1–G1–D2–A2–E3–B3) which is a much larger range. In classical solo playing the double bass is usually tuned a whole tone higher (F1–B1–E2–A2). This higher tuning is called "solo tuning", whereas the regular tuning is known as "orchestral tuning".
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He demonstrated a kind of originality, scoring his Second Cello Concerto for 48 cellos, 12 double-basses and percussion (1969). Ten years later, however, he re-orchestrated it for a more practical combination. He was honored by Shostakovich's orchestration of his First Cello Concerto, and repaid his master by the orchestration, editing and transcription of a few scores by Shostakovich. Tishchenko's Requiem, to the forbidden poem by Anna Akhmatova, written in the period of political stagnation in 1966, was a courageous cultural gesture.
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Albert Siklós Albert Siklós (born Albert Schönwald: 26 June 1878 in Budapest - 3 April 1942 in Budapest) was a Hungarian composer. Siklós studied at Budapest's music academy under Hans von Koessler. From 1918 on he taught composition, aesthetic and choir singing at the academy; in 1928 he became a ministerialis commissioner at the conservatory. He composed two operas and a pantomime, two symphonies and a symphony for twelve double basses, four orchestral suites, two cello concertos, a piano concerto and one violin concerto.
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By the end of the Classical period, with Beethoven's symphonies, cellos and double basses were often given separate parts. In general, the more complex passages and rapid note sequences are given to the cellos, while the basses play a simpler bassline. The timpani (or kettledrums) also play a role in orchestral basslines, albeit confined in 17th and early 18th century works to a few notes, often the tonic and the dominant below it. In a small number of symphonies, the pipe organ is used to play basslines.
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Canticum Sacrum is scored for tenor and baritone soloists, mixed chorus, and an orchestra of 1 flute (which plays only in the second movement), 2 oboes, cor anglais, 2 bassoons, contrabassoon, 3 trumpets in C, bass trumpet in C, 2 tenor trombones, bass trombone, contrabass trombone, organ, harp, violas, and double basses. Clarinets, horns, violins, and cellos are all absent. Canticum Sacrum is Stravinsky's only piece to make use of the organ. Its use represents one of many tributes to the traditions of Saint Mark's Basilica.
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It is written for an orchestra consisting of two oboes, four horns (two in B alto and two in G), and strings (violins divided into two, violas, cellos and double basses). There are four movements: #Allegro assai, #Andante, in E major #Menuet & Trio, #Finale: Allegro di molto, File:Haydn-39-1-theme.png The opening movement features a nervously exciting main theme interrupted by frequent pauses. Felix Diergarten has specifically analysed the pauses in the first movement in the symphony, with respect to symphonic form of the time.
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London Symphony Orchestra, Barbican Hall A concert band. Classical chamber ensembles of six (sextet), seven (septet), or eight musicians (octet) are fairly common; use of latinate terms for larger groups is rare, except for the nonet (nine musicians). In most cases, a larger classical group is referred to as an orchestra of some type or a concert band. A small orchestra with fifteen to thirty members (violins, violas, four cellos, two or three double basses, and several woodwind or brass instruments) is called a chamber orchestra.
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"Wellington's Victory" is something of a musical novelty. The full orchestration calls for two flutes, a piccolo, two oboes, two clarinets, two bassoons, four horns, six trumpets, three trombones, timpani, a large percussion battery (including muskets and other artillery sound effects), and a usual string section of violins I and II, violas, cellos, and double basses. There are more trumpets than horns, and more brass and percussion. In the orchestral percussion section one player plays the timpani, the other three play the cymbals, bass drum and triangle.
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The work is scored for a large orchestra consisting of the following forces: piccolo, 2 flutes, 2 oboes, English horn, 2 clarinets in B (2nd doubling E-flat clarinet), bass clarinet, 3 bassoons, contrabassoon, 6 horns in F, 3 trumpets in D and F, 3 trombones, tenor tuba in B (often performed on euphonium), tuba, timpani, bass drum, snare drum, cymbals, triangle, tambourine, wind machine, and strings: harp, violins i, ii, violas (including an extensive solo viola part), violoncellos (including an extensive solo violoncello part), double basses.
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Stagg music is a Belgian musical instrument company headquartered in Brussels, currently a subsidiary of EMD Music.Distributed brands on EMD Music, 15 Oct 2019 The company produce a wide range of musical instruments, which includes string instruments (electric, acoustic and classical guitars, bass guitars, banjos, mandolins, ukuleles, double basses, violins, violas, cellos, bows), percussion instruments (drum kits and pads, cymbals, drum sticks), tuned metal (xylophone, metallophones), free reed (harmonicas, melodicas) and brass instruments (flugelhornes, euphoniums, saxophones) as well as effects units and other accessories.
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In the late 1920s and early 1930s, the Aluminum Company of America (Alcoa) as well as German luthier G.A. Pfretzschner produced an unknown number of aluminum cellos (in addition to aluminum double basses and violins). Cello manufacturer Luis & Clark constructs cellos from carbon fibre. Carbon fibre instruments are particularly suitable for outdoor playing because of the strength of the material and its resistance to humidity and temperature fluctuations. Luis & Clark has produced over 1000 cellos, some of which are owned by cellists such as Yo-Yo Ma and Josephine van Lier.
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1609 score: Monteverdi's listing of instruments is shown on the right. For the purpose of analysis the music scholar Jane Glover has divided Monteverdi's list of instruments into three main groups: strings, brass and continuo, with a few further items not easily classifiable. The strings grouping is formed from ten members of the violin family (viole da brazzo), two double basses (contrabassi de viola), and two kit violins (violini piccoli alla francese). The viole da brazzo are in two five-part ensembles, each comprising two violins, two violas and a cello.
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The piece is scored for: :Solo piano :Ondes Martenot Woodwinds : 1 piccolo : 2 flutes : 2 oboes : 1 cor anglais : 2 clarinets : 1 bass clarinet : 3 bassoons Brass : 4 horns : 3 trumpets : 1 trumpet in D : 1 cornet : 3 trombones : 1 tuba Percussion (8 to 11 percussionists) : Vibraphone : Keyed or mallet glockenspiels : Triangle : Temple blocks : Wood block : Cymbals (crash and three types of suspended) : Tam tam : Tambourine : Maracas : Snare drum : Provençal tabor : Bass drum : Tubular bells : Celesta Strings : 32 violins : 14 violas : 12 cellos : 10 double basses The demanding piano part includes several solo cadenzas.
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Thousands were taking up the instrument as a pastime, and it became an instrument of society, taken up by young men and women. Mandolin orchestras were formed worldwide, incorporating the mandolin family of instruments—mandolins, mandolas, mandocellos, and even mandobasses—as well as guitars, double basses and zithers. Around this time, the Gibson company began building mandocellos in the style of their mandolins with arched tops and backs. Gibson is known to have produced at least four models of mandocello between 1905 and the 1920s: the K-1, K-2, K-4, and K-5.
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Most of the music was reconstructed in 1965 by Kalevi Kuosa, from the original parts that had survived. The parts that hadn't survived were those of the violas, cellos, and double basses. Based on Kuosa's transcription, the Finnish composers Kalevi Aho and Jouni Kaipainen have individually reconstructed the complete music to Karelia Music. A recording of Kalevi Aho's completion was released in 1997 in a recording with the Lahti Symphony Orchestra conducted by Osmo Vänskä, and Jouni Kaipainen's completion was recorded for a 1998 release with the Tampere Philharmonic Orchestra, conducted by Tuomas Ollila.
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The second movement functions as a short but intense interlude between the outer movements. It falls into two sections, the first beginning in the brass and woodwinds, finally giving way to the violins. This is followed, after a descending transitional passage in the low brass, by the second section, where the double basses present the theme that will form the basis of the finale. There is a suggestion of the contrapuntal atmosphere, and even an anticipation of the two counterthemes of the first variation of the following movement .
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The popularity of the mandolin reached its height just after the turn of the century. Mandolin orchestras were formed worldwide, incorporating the mandolin family of instruments and also guitars, double basses, and zithers. The mandolin's popularity in the US was spurred by the success of the Spanish Students. An Italian musician, Carlo Curti, hastily started a musical ensemble after seeing them perform; his group of Italian-born Americans called themselves the "Original Spanish Students", anticipating that the American public could not tell the difference between the Spanish bandurrias and Italian mandolins.
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Heinrich Albert (1870–1950) obtained a Gélas guitar (from Gaudet in Paris) and ascribes his concert successes in a large part to the guitar, praising its carrying sound, ease of responsiveness, and tone- colour.Heinrich Albert and Gélas guitar Other players of Gélas guitars included Luise Walker (1910–1998) and Bruno Henze (1900–1978). Gélas produced the instruments with the help of guitar-makers (following his patent), at first Théodore Gaudet and later Jean Roviès, Beuscher, Richard Jacob and others. The instruments included classical guitars, mandolins, jazz double- basses and Hawaiian guitars.
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During his life he has made a large number of instruments (violins, violas, cellos and also double basses) according to his model. Almost 100 of them are being played by orchestra members and soloists not only in the Czech Republic, but also in Germany, Switzerland, United States, Japan, Austria, and other countries. He was a member of Kruh umelcu houslaru, which is an organization unifying the best Czech violinmakers. He was also very close to the Czech Philharmonic Orchestra and he accompanied them for many years around the world as their doctor.
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The symphony is scored for the following instruments: ;Woodwind: :Piccolo :2 Flutes :2 Oboes :2 Clarinets in A :2 Bassoons ;Brass: :4 Horns :2 Trumpets :3 Trombones : Tuba ;Percussion: :4 Timpani :Bass drum :Snare drum :Soprano tom-tom drum :Cymbals :Tam-tam :Triangle :Castanets :Wood block :Whip :Xylophone :Glockenspiel :Vibraphone ;Keyboard :Celesta ;Strings: :16 1st Violins :14 2nd Violins :12 Violas :12 Cellos :10 Double basses Though composed for a conventional orchestra with augmented percussion, the symphony is sparingly scored, making use of various chamber music-style groupings.
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The Quintet for clarinet, bass clarinet and string trio by Robert Simpson was completed in 1981 and commissioned by Gerald Drucker principal double bass at the Philharmonia Orchestra of London. The first performance was given at the Wigmore Hall in 1981 by the London Double Bass Ensemble and led by Gerald Drucker. Robert Simpson was attracted to the idea of a quintet for the somewhat unusual combination of three double basses, clarinet and bass clarinet, beginning with a passage where the bass trio is actually introduced in harmonics, so that the two clarinets enter below.
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This is known as snap pizzicato or Bartók pizzicato, after one of the first composers to use it extensively (e.g. in the 4th movement of his Fourth String Quartet, 1928). Gustav Mahler famously employs this kind of pizzicato in the third movement of his Seventh Symphony, in which he provides the cellos and double basses with the footnote 'pluck so hard that the strings hit the wood' (bar 401). On the double bass, this style of snap pizzicato, or "slapping", was used in jazz since the 1920s and later used in rockabilly.
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The tone is louder at harmonic relations of the bridge string length. On violins the tone can be very high, even above our hearing capacity. Depending on the instrument, the pitch of the tones may or may not be perceived (cellos and double basses are more likely to produce recognizable pitches because of their longer strings). This technique is used extensively in Krzysztof Penderecki's Threnody to the Victims of Hiroshima. Another example is found in Ferde Grofé’s Grand Canyon Suite where bowing behind the bridge in a violin cadenza represents a donkey’s braying.
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For silent practice in a hotel room or apartment, an EUB can also be connected to headphones. Preamplifiers and equalizers for acoustic instruments or double basses can also be used to "roll off" the treble frequencies or "notch out" the "scratchy-sounding" frequencies. Since the EUB typically does not have a hollow sound chamber, or only includes a small sound chamber, the EUB is less prone to audio feedback than the double bass when amplified. To use a bow with an EUB, both the bridge and fingerboard must be radiussed (given a curve).
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Some early basses were conversions of existing violones. This 1640 painting shows a violone being played. The double bass is generally regarded as a modern descendant of the string family of instruments that originated in Europe in the 15th century, and as such has been described as a bass Violin.The Double Bass, Jacob Head Before the 20th century many double basses had only three strings, in contrast to the five to six strings typical of instruments in the viol family or the four strings of instruments in the violin family.
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Many cobla bands in Catalonia still have players using traditional three-string double basses tuned A–D–G.Three-string double bass in the cobla band Website of Cobla Baix Llobregat Throughout classical repertoire, there are notes that fall below the range of a standard double bass. Notes below low E appear regularly in the double bass parts found in later arrangements and interpretations of Baroque music. In the Classical era, the double bass typically doubled the cello part an octave below, occasionally requiring descent to C below the E of the four-string double bass.
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A low-C extension with wooden mechanical "fingers" that stop the string at C, D, E, or E. For orchestral passages which only go down to a low E, the "finger" at the nut is usually closed. In Britain, the US, Canada and Australia, most professional orchestral players use four-string double basses with a C extension. This is an extra section of fingerboard mounted on the head of the bass. It extends the fingerboard under the lowest string and gives an additional four semitones of downward range.
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The piece is scored for 20 violins, 8 violas, 8 celli, 6 double basses, celesta, harp, piano, and a large percussion section including xylorimba, congas, wooden-drums, vibraphone, bongos, bells, cymbals, glockenspiel, tom-toms, triangle, gong, tam-tam, and timpani to be played by six percussionists. Additionally, the pianist is responsible for playing wooden claves or rumba-sticks. The tempi in the beginning and end of the piece are noted in durations of seconds. The middle section uses more conventional metronome marks which range from quarter note equals 44 to quarter note equals 80.
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The concerto is scored for piccolo, two flutes, three oboes (third doubling oboe d'amore), piccolo clarinet in E-flat, two clarinets in A, bass clarinet, two bassoons, contrabassoon, three horns, three trumpets in C (with normal and Robinson mutes), three trombones (with normal and Robinson mutes), tuba, five timpani, two suspended cymbals (high and medium), two tam-tams (medium and low), crotales, tubular bells, glockenspiel, vibraphone, three bongos, three tom- toms, snare drum, cymbalum, piano, celesta, harp, solo violin, sixteen first violins, fourteen second violins, twelve violas, ten cellos and eight double basses.
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The Gran Duo Concertante for two double basses and orchestra was composed by the Italian double bass virtuoso Giovanni Bottesini in 1880. The piece was premiered by Bottesini and Luigi Negri, a former classmate of the composer. Negri was a student of Luigi Rossi at the Milan Conservatory at the same time as his more well-known colleague. The Gran Duo Concertante is a single, sprawling movement and usually lasts around 15 minutes if played up to tempo, but this estimate can vary greatly due to the artists' interpretation of the music.
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While double concertos were generally composed for different instruments, Bottesini did not seem to consider the questionable practicality of a piece that requires two very talented double bassists. Camillo Sivori, the disciple of Niccolò Paganini, transcribed one of the bass parts for violin soon after its premiere. Sivori's version is that most commonly heard today, although his contribution is rarely acknowledged and even most bassists are unaware of the piece's original instrumentation. Bottesini also wrote another concerto for two double basses entitled "Gran Duo Passione Amorosa" in a more traditional, three-movement format.
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The relatively pliable willow is less likely to split while being woven than many other woods, and can be bent around sharp corners in basketry. Willow wood is also used in the manufacture of boxes, brooms, cricket bats, cradle boards, chairmans and other furniture, dolls, flutes, poles, sweat lodges, toys, turnery, tool handles, veneer, wands and whistles. In addition, tannin, fibre, paper, rope and string can be produced from the wood. Willow is also used in the manufacture of double basses for backs, sides and linings, and in making splines and blocks for bass repair.
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Zanetto Micheli (c. 1489 – after 1560) was the first representative of the oldest known family of string instrument makers from the famous Renaissance Brescian school of strings and violin making, from which many very clear archive documents but (more important) some perhaps 20 original instruments (violins, violas, viols, double basses) seems to survive. Micheli was born in the Italian village of Montichiari, and later moved to the nearby town of Brescia. The birth date is deduced from a document of 1550 in which Zanetto declared to be over 60 years old.
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This is in all likelihood because of the way the sound is intended to be directed towards the stage rather than directly on the audience. This way the sound has a more direct line from the first violins to the back of the stage where it can be then reflected to the audience. # Double basses, cellos and harps (when more than one used, e.g. Ring) are split into groups and placed on either side of the pit # The rest of the orchestra is located directly under the stage.
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The second movement, in A major, the subdominant key of C minor's relative key (E major), is a lyrical work in double variation form, which means that two themes are presented and varied in alternation. Following the variations there is a long coda. The movement opens with an announcement of its theme, a melody in unison by violas and cellos, with accompaniment by the double basses. A second theme soon follows, with a harmony provided by clarinets, bassoons, and violins, with a triplet arpeggio in the violas and bass.
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The work is written for oboe solo and symphonic orchestra composed of two flutes (one doubling piccolo), two oboes, two clarinets, two bassoons, four horns, three trumpets, two trombones, bass trombone, tuba, timpani, glockenspiel, xilophone, percussion (suspended cymbal, claves, snare drum, castanets, tambourine, zills, wood block, bass drum, cymbals, triangle), harp, piano and strings. There is an arrangement made by the composer himself for wind band (the bass are reinforced through cellos and double basses, with no violins and violas). A typical performance lasts 22 minutes. It has only one movement.
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Górecki specifies exact complements for the string forces: 16 first violins, 16 second violins, 12 violas, 12 cellos, and 8 double basses. For most of the score, these are in turn divided into two parts, each notated on a separate staff. Thus the string writing is mainly in ten different parts, on ten separate staves. In some sections some of these parts are divided even further into separate parts, which are written on the same staff, so that ten staves are still used for a greater number of parts.
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Stravinsky began composing Apollo on 16 July 1927 and completed the score on 9 January 1928. He composed for a refined instrumental force, a string orchestra of 34 instrumentalists: 8 first violins, 8 second violins, 6 violas, 4 first cellos, 4 second cellos and 4 double basses. The commission from the Library of Congress and underwritten by Mrs. Elizabeth Sprague Coolidge paid him $1,000 for the piece, which was required to use only six dancers, require a small orchestra, and last no more than half an hour, but allowed him free choice of subject.
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Der gerettete Alberich is scored for a solo percussionist and orchestra comprising piccolo, two flutes, three oboes, three clarinets, three bassoons, six French horns, three trumpets, three trombones, tuba, harp, timpani, three percussionists (chimes, antique cymbals, xylophone, castanets, tam-tam, bass drum, suspended cymbal, four tom-toms, anvil, and thunder sheet), and strings (violins I & II, violas, violoncellos, and double basses). The soloist's percussion battery consists of four wood blocks, four log drums, four tom-toms, two bongo drums, two timbales, snare drum, steel drum, marimba, two güiros, pedal-operated bass drum, and a drum kit.
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The concerto begins with the double basses softly arpeggiating an ambiguous harmony (E-A-D-G) being the background to an unusual solo of the contrabassoon. Although these notes are later given great structural weight, they are also the four open strings on the double bass, creating the illusion at the start that the orchestra is still tuning up. As is traditional in a concerto, the thematic material is presented first in the orchestra and then echoed by the piano. Not so traditional is the dramatic piano cadenza which first introduces the soloist and prefigures the piano's statement of the opening material.
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Metamorphosen, study for 23 solo strings (TrV 290, AV 142) is a composition by Richard Strauss for ten violins, five violas, five cellos, and three double basses, typically lasting 25 to 30 minutes. It was composed during the closing months of the Second World War, from August 1944 to March 1945. The piece was commissioned by Paul Sacher, the founder and director of the Basler Kammerorchester and Collegium Musicum Zürich, to whom Strauss dedicated it. It was first performed on 25 January 1946 by Sacher and the Collegium Musicum Zürich, with Strauss conducting the final rehearsal.
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It is dedicated to his cousin Alexander Siloti, and it was intended to be part of a larger work because it is headed "Third movement". The model for the work is the Scherzo from Felix Mendelssohn's incidental music for Shakespeare's A Midsummer Night's Dream. Rachmaninoff had earlier transcribed Pyotr Ilyich Tchaikovsky's Manfred Symphony for two pianos, and the Scherzo also has echoes of that work. The piece is scored for 2 flutes, 2 oboes, 2 clarinets (B♭), 2 bassoons, horn (F), trumpet (B♭), 2 timpani, violins I, violins II, violas, cellos and double basses.
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The symphony was composed in 1992 and scored for full orchestra with 2 flutes, piccolo, 2 oboes, 2 clarinets, E clarinet, bass clarinet, 2 bassoons, 4 horns, 3 trumpets, 3 trombones, tuba, percussion, harp, piano and strings (including 8 first violins, 6 second violins, 4 violas, 4 cellos and 2 double basses). The symphony has three movements: "Some Are", the David Bowie song on which the second movement was based, didn't feature on the original release of Low but was recorded during the Low recording sessions. The song would later be released on the Rykodisc reissue of the album in 1991.
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The score is Shostakovich's 39th opus. It includes references to Tchaikovski and other former ballet composers. Woodwinds: piccolo, 2 flutes (flute II = piccolo II), 2 oboes, cor anglais, Eb clarinet, 2 Bb clarinets, bass clarinet (= clarinet III), 2 bassoons, contra-bassoon (= bassoon III) Brass: 6 French horns, 3 trumpets, 3 trombones, tuba, Brass Band (1 Eb Cornet, 2 Bb Cornets, 2 Bb Trumpets, 2 Eb Altos, 2 Bb Tenors, 2 Bb Baritones, 2 Bb Basses) Percussion: timpani, triangle, tambourine, snare drums, cymbals, glockenspiel, xylophone, bass drum, gong, wood blocks Strings: violins, violas, cellos, double basses, harp 2 flute.picc. 2 oboe.corA.
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The concerto is scored for solo piano and an orchestra consisting of flute (doubling piccolo), oboe, clarinet (doubling alto ocarina), bassoon, horn, trumpet, tenor trombone, percussion, and strings. For balance, Ligeti recommends the strings to be 6–8 violin I's, 6–8 violin II's, 4–6 violas, 4–6 cellos, and 3–4 double basses. The percussion consists of triangle, crotales (in pairs), 2 suspended cymbals (small/normal size), 4 woodblocks, 5 templeblocks, tambourine, snare drum, 3 bongos, 4 tomtoms, bass drum, guero, castanets, whip, siren whistle, signal whistle, slide whistle, flexatone, chromatic harmonica (Chromonica in C, 270 by Hohner), glockenspiel, and xylophone.
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The Low Anthem is a band from Providence, Rhode Island formed in 2006 by friends Ben Knox Miller and Jeff Prystowsky. The current lineup consists of Knox Miller (vocals, guitars, trumpets, saws), Prystowsky (vocals, drums, double basses, synths), Bryan Minto (vocals, guitars, harmonicas) and Florence Grace Wallis (violins, vocals). The Low Anthem have written, produced, and recorded five albums: What The Crow Brings (2007), Oh My God, Charlie Darwin (2008), Smart Flesh (2011), Eyeland (2016), and The Salt Doll Went to Measure the Depth of the Sea (2018). They were Mojo Magazine's Breakthrough Artist of the Year in 2010.
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A luthier ( )Oxford Dictionaries is a craftsperson who builds and repairs string instruments that have a neck and a sound box. The word "luthier" is originally French and comes from the French word for lute. The term was originally used for makers of lutes, but it came to be used already in French for makers of most bowed and plucked stringed instruments such as members of the violin family (including violas, cellos, and double basses) and guitars. Luthiers, however, do not make harps or pianos; these require different skills and construction methods because their strings are secured to a frame.
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As of 2010, several manufacturers make travel instruments, which are double basses that have features which reduce the size of the instrument so that the instrument will meet airline travel requirements. Travel basses are designed for touring musicians. One type of travel bass has a much smaller body than normal, while still retaining all of the features needed for playing. While these smaller- body instruments appear similar to electric upright basses, the difference is that small-body travel basses still have a fairly large hollow acoustic sound chamber, while many EUBs are solid body, or only have a small hollow chamber.
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Some fifth tuning bassists who only have a four string instrument and who are mainly performing soloistic works use the G–D–A–E tuning, thus omitting the low C string but gaining a high E. Some fifth tuning bassists who use a five-string use a smaller scale instrument, thus making fingering somewhat easier. The Berlioz–Strauss Treatise on Instrumentation (first published in 1844) states that "A good orchestra should have several four-string double-basses, some of them tuned in fifths and thirds." The book then shows a tuning of E1–G1–D2–A2) from bottom to top string.
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The original orchestral arrangement of the piece is scored for two flutes, piccolo, two oboes, English horn, two clarinets, bass clarinet, two bassoons, contrabassoon, four French horns, three trumpets, two trombones, bass trombone, tuba, timpani, three percussionists, piano, and strings. The subsequent arrangement for concert band is scored for solo timpani, five flutes (V doubling on piccolo), two oboes, English horn, four clarinets, E-flat clarinet, bass clarinet, two bassoons, contrabassoon, two alto saxophones, tenor saxophone, baritone saxophone, four French horns, three trumpets, three trombones, two euphoniums, two tubas, six percussionists, piano, and two double basses.
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The concerto, as described in its name, is scored for solo piano accompanied by an ensemble of wind instruments. The instrumentation of the wind section is what would be found in a standard symphony orchestra: two flutes, piccolo, two oboes, cor anglais, two clarinets, two bassoons (second bassoon doubling contrabassoon), four horns, four trumpets, three trombones, and tuba. The work also calls for double basses (divisi in 3) and a timpano. Although combining winds and piano was unusual at the time, the form had been explored earlier in the twentieth century and would be explored later.
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Adams composed two versions of Dark Waves: one for two pianos and another for orchestra. The orchestral version calls for an ensemble comprising: ;Woodwinds :2 piccolos :2 oboes :2 clarinets in B :contrabass clarinet in B or E :2 bassoons :contrabassoon ;Brass :2 horns in F :2 trumpets in C :2 trombones :bass trombone :tuba ;Percussion, 2 players :bass drum :cymbal, suspended :tubular bells :2 vibraphones ;Keyboards :celesta :piano ;Strings :violins I (minimum of 12 players) :violins II (minimum of 12 players) :violas (minimum of 9 players) :cellos (minimum of 9 players) :double basses (minimum of 6 players) and electronics.
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The model is usually made on a distinctive shortened Nicola Amati model with long middle bouts. The heads are usually carved in the style of Nicola Amati, however with more deeply curved chins, but earlier models also have a typical Jacob Stainer head, in the style of his teacher William Forster. He produced an estimated 50 high quality double-basses and a few chamber-basses too, based on a smaller model. Most of his work is signed in pencil on the inner surface of the table, and occasionally in ink above the endpin on the lower ribs.
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Worm drives are used as the tuning mechanism for many musical instruments, including guitars, double-basses, mandolins, bouzoukis, and many banjos (although most high-end banjos use planetary gears or friction pegs). A worm drive tuning device is called a machine head. Plastic worm drives are often used on small battery-operated electric motors, to provide an output with a lower angular velocity (fewer revolutions per minute) than that of the motor, which operates best at a fairly high speed. This motor-worm-gear drive system is often used in toys and other small electrical devices.
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The cellos and double-basses start the first-movement sonata form in a tranquil mood by introducing the first phrase of the principal theme, which is continued by the horns. The woodwinds develop the section and other instruments join in gradually progressing to a full-bodied forte (at bar 58). At bar 82, the violas and cellos introduce the movement's second "Lullaby" theme in F-sharp minor, which eventually moves to A major. After a development section based mostly on motives of the principal theme group, the recapitulation begins at bar 302, with the second theme returning at bar 350.
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Mandolin tailpiece, which simply anchors the strings solidly The tailpiece anchors the strings, so it must be strong enough to withstand their combined tension. Tailpieces of the violin family or viol families of instruments, including double basses, are attached by a "tailgut" looped around the tailpin or end button, which is let into the bottom bock of the instrument. Originally made of animal gut and adjusted with difficulty by means of a knot, tailguts are now usually made of wire or nylon monofilament, and easily adjusted with threaded collars, usually made of brass, on the ends. Tailpieces are made of many materials.
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He was born in Montichiari, the son of Zanetto Micheli, and for 65 years he carried out a very long and rich career as a music instrument maker, specializing in strings, learned from Zanetto. He started with violas; then in the 1550s he worked with violins and in the 1570s also in ceteras. The first record of his activity is in 1548, when he was 28 years old. In 1568 he was called "maestro di strumenti da sonar" (master of instrument for playing) a special qualification in common with da Salò that testifies to the variety of the items made by the maker: viols, violas, violones, lyras, double basses, violins, ceteras.
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Concerto in E-flat, inscribed Dumbarton Oaks, 8.v.38 (1937–38) is a chamber concerto by Igor Stravinsky, named for the Dumbarton Oaks estate of Robert Woods Bliss and Mildred Barnes Bliss in Washington, DC, who commissioned it for their thirtieth wedding anniversary. Composed in Stravinsky's neoclassical period, the piece is one of Stravinsky's two chamber concertos (the other being the Concerto in D, for strings, 1946) and is scored for a chamber orchestra of flute, B clarinet, bassoon, two horns, three violins, three violas, two cellos, and two double basses. The three movements, Tempo giusto, Allegretto, and Con moto, performed without a break, total roughly twelve minutes.
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It is scored for: groups of five oboes, trumpets and double basses; a trombone; three tubas; two bass drums and tenor drum; piano; and a solo voice (reciter), which appeals in speech in Russian for salvation. The work lasts approximately 13-15 minutes. The symphony is based on the texts of the 11th- century German monk and musician Hermanus Contractus: the reciter repeating the invocation "Almighty, True God, Father of Eternal Life, Creator of the World, save us". Ustvolskaya noted that there is an error in the published score - an incorrect piano glissando in bar 88 - which persisted despite her request for it to be corrected.
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4 and 7, for 13 winds). The word "duodecet" remains rare as a genre title in the 20th century (exceptions are found amongst the works of Polish composers Barbara Buczek and Bogusław Schaeffer), where works for twelve instruments or singers most often are given either a true title, or a genre title describing the form (e.g., "concertino", "suite", "variations"), often followed by a designator such as "for twelve instruments". The three "twelve-part inventions", variations 3 (12 solo violins), 5 (10 violas and 2 double basses), and 11 (12 wind instruments), in Stravinsky's Variations: Aldous Huxley in memoriam (1963–64) have been designated "duodecets" by his biographer Eric Walter White (; ).
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The symphony is scored for 4 flutes (3rd and 4th doubling 1st and 2nd piccolo), 4 oboes (3rd and 4th doubling 1st and 2nd cor anglais), 3 clarinets (3rd doubling E-flat clarinet and bass clarinet), 4 bassoons (4th doubling contrabassoon), 6 horns, piccolo trumpet in D, 3 trumpets in C, 2 cornets in B flat, valve trombone, 3 tenor trombones, bass trombone, 3 tubas, 2 sets of timpani, 6 percussionists (snare drum, tambourine, triangle, ratchet, hand bell, cymbals, tam-tam, bass drum, castanets, xylophone, bell (F), thunder sheet, glockenspiel), celesta, piano, organ, wordless chorus, 2 harps, 20 first violins, 20 second violins, 14 violas, 12 cellos and 12 double basses .
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As in the original, this short ballet consists of four movements: Bluebird Pas de Deux is scored for a large ensemble consisting of a flute, an oboe, two clarinets, a bassoon, a French horn, two trumpets, two trombones, timpani, and a string section consisting of five violins, four violas, three cellos and two double basses. As an original addition, Stravinsky did not actually reduce the orchestra, but rather chose to include a piano to provide a new element to help articulation and sonority. According to Stravinsky himself, "the prominent piano part [...] helps to conceal the small number of strings" in Bluebird Pas de Deux.
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The side drums were instructed when to play in La Réjouissance and the second Menuet, but very likely also played in the Ouverture. Handel re-scored the suite for full orchestra for a performance on 27 May in the Foundling Hospital. Handel noted in the score that the violins were to play the oboe parts, the cellos and double basses the bassoon part, and the violas either a lower wind or bass part. The instruments from the original band instrumentation play all the movements in the revised orchestral edition except the Bourrée and the first Menuet, which are played by the oboes, bassoons, and strings alone.
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Ellis's interest in expanding the possibilities within big band instrumentation is obvious on even his first Orchestra release, 1966's Live at Monterey. Inspired by his experiences with Latin bands, Ellis expanded his rhythm section to two drum sets, three double- basses, at least two auxiliary percussionists, piano, and organ. On the song "Turkish Bath" from Electric Bath (1967), bassist Ray Neapolitan doubles on sitar. His horn sections were often a fairly typical mix of trumpets, trombones and saxophones, although he later added a tuba and French horn to augment the brass section, and sometimes had the saxophonists double on instruments like flute, oboe, clarinet and saxello.
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It is often said to be the first independent set of variations for orchestra in the history of music,McCorkle, Donald M., p. 5 in the Norton Scores edition of the Variations () although there is at least one earlier piece in the same form, Antonio Salieri's Twenty-six Variations on 'La folia di Spagna' written in 1815. Brahms's orchestral variations are scored for piccolo, 2 flutes, 2 oboes, 2 clarinets, 2 bassoons, contrabassoon, 4 horns (2 in E, 2 in B), 2 trumpets, timpani, triangle, and the normal string section of first and second violins, violas, cellos and double basses. The piece usually takes about 18 minutes to perform.
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John Juzek (né Janek Jůzek, aka Jan, aka Johann;1892 Písek, Czech Republic – approx 1965 Luby, Czech Republic) was a Czechoslovak merchant, widely known in North America as an exporter of violins, violas, cellos, and double basses made and labeled under his anglicized name, "John Juzek," crafted mostly by guilds and various independent makers in the Bohemia region of the Czechoslovakia and Germany border. The John Juzek trademark, brand, and line of orchestral string instruments endures today through the original -year-old family-owned wholesaler, Metropolitan Music Co., currently owned and managed by the heirs of Robert Juzek (1894–1975), a founding partner and sibling of John Juzek.
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Many of Sun Ra's innovations remain important and groundbreaking. Ra was one of the first jazz leaders to use two double basses, to employ the electric bass, to play electronic keyboards, to use extensive percussion and polyrhythms, to explore modal music and to pioneer solo and group freeform improvisations. In addition, he made his mark in the wider cultural context: he proclaimed the African origins of jazz, reaffirmed pride in black history and reasserted the spiritual and mystical dimensions of music, all important factors in the black cultural/political renaissance of the 1960s. NRBQ recorded "Rocket #9" in 1968 for their debut album on Columbia.
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These shows brought Tambellini to prominence with the Herald Tribune remarking that this was "Tambellini's Rebellion in Art Form". In 2009, Performa 09, the NYC performance biennial, hosted a memorable recreation of Black Zero at White Box (34 years after it premiered at the Astor Playhouse in 1965) featuring William Parker and Hill Greene on double basses and Ben Morea on clamorous machines, among others. In 2011, the Chelsea Art Museum was host to yet another recreation of Black Zero, as part of Tambellini's museum retrospective there. Both performances were produced by Swiss conceptual artist Christoph Draeger, who invited bass legend Henry Grimes to join this time.
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But Weber also learned from Méhul's use of the orchestra to evoke atmosphere. As John Warrack writes: "Much of the opera is set by night or in underground rooms and labyrinthine passages or a thick forest and Méhul responds with some of the swarthiest orchestration he can contrive, setting the tone at once with an overture (brief, irregular in form, and ending in harmonic mid-air) beginning on three solo cellos and ending on unison double basses."Warrack p.199 The opera also makes use of a "reminiscence motif" (the forerunner of the Leitmotiv), descending discords symbolising Othon's jealousy and anger which recur throughout the work.
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Played by a cellist or violoncellist, it enjoys a large solo repertoire with and without accompaniment, as well as numerous concerti. As a solo instrument, the cello uses its whole range, from bass to soprano, and in chamber music such as string quartets and the orchestra's string section, it often plays the bass part, where it may be reinforced an octave lower by the double basses. Figured bass music of the Baroque-era typically assumes a cello, viola da gamba or bassoon as part of the basso continuo group alongside chordal instruments such as organ, harpsichord, lute or theorbo. Cellos are found in many other ensembles, from modern Chinese orchestras to cello rock bands.
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The march has an opening section consisting mainly of two-bar rhythmic phrases which are repeated in various forms, and a lyrical Trio constructed like the famous "Land of Hope and Glory" trio of March No. 1. The first eight bars of the march is played by the full orchestra with the melody played by the violasOne might expect the tune from the violins, with the violas playing a lower part and upper woodwind. Both harps play from the beginning, while the cellos, double basses and timpani contribute a simple bass figure. The bass clarinet, contrabassoon, trombones and tuba are held "in reserve" for the repeat, when the first violins join the violas with the tune.
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Jennings plays a custom built left-handed Thomas Martin double bass (2004),Testimonials , Thomas & George Martin double basses a Croatian double bass circa 1880 converted into a neck off for air travel by David Gage, a "Lolita" electric double bass by Hervé Prudent (2011)Lolita electric double bass , Hervé Prudent instrument builder as well as a Saz (Nino le Saz) by luthier Hervé Prudent and a custom made 6 string electric bass (1992) by Tak Hosono (Ibenez basses)custom made instruments, Tak Hosono instrument builder designed and constructed with the help of his mentor legendary Canadian bassist Dale James. Jennings is endorsed by d'Addario Bowed Strings and by David Gage Realist pick-ups.
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Geoffrey Simon was born on 3 July 1946 in Adelaide.Answers.com He was a student of Herbert von Karajan, Rudolf Kempe, Hans Swarowsky and Igor Markevitch, and a major prize-winner at the first John Player International Conductors' Award. He has made 45 recordings for a number of labels, combining familiar works with world premieres of rediscovered obscure works by Tchaikovsky, Respighi, Borodin, Mussorgsky, Smetana, Grainger, Debussy, Ravel, Saint-Saëns and Les Six. For his own label, Cala Records, Geoffrey Simon has a series of records where he has brought together ensembles of single instruments—all violins, violas, cellos, double basses, horns, trumpets, trombones and harps—drawn from London's leading solo and orchestral musicians.
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Following is a cello solo, which exploits a wide tessitura. Low register flutes play a dotted motif in sixths, accompanied by cello trills which subsequently is expanded upon by the solo trombone. A side-drum roll brings the entire brass section to a fortissimo statement of the initial flute theme, and a fortississimo restatement of the opening chorale for brass, timpani, bassoons and double basses sounds against a chromatic melody for strings and high woodwind. After a recapitulation of the trombone melody, an adagio celesta solo is imitated by the combination of cello string harmonics and vibraphone, eventually accompanied by the solo double bass, before a final reference to the opening brass chorale.
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The symphony is scored for an orchestra with the following instruments: ;Woodwinds :3 flutes (3rd doubling piccolo) :2 oboes :2 clarinets (in A) :2 bassoons ;Brass :4 horns :2 trumpets :3 trombones :1 tuba ;Percussion :timpani :bass drum :cymbals :tam-tam (ad libitum) ;Strings :violins I, II :violas :celli :double basses Although not called for in the score, a bass clarinet is commonly employed to replace the solo bassoon for the four notes immediately preceding the Allegro vivo section of the first movement, which originates from Austrian conductor Hans Richter. This substitution is because it is nearly impossible in practice for a bassoonist to execute the passage at the indicated dynamic of .
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Legouvé thought there were several greater violin virtuosi in Paris than Urhan, but that he outshone them through his profound knowledge of the masters and respect for their music, and through the indefinable quality of style which he brought to them. He often differed with Habeneck, when the conductor wanted to make cuts, and actually published and signed an article against Habeneck when he withdrew some double-basses from Beethoven's Choral Symphony. He did not merely guard the reputation of the old masters, but he was also a fierce advocate and defender of the new, and of those of the future. He was the first to introduce a song of Schubert's into France (L'Adieu).
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Shostakovich uses an immense orchestra in this work, requiring well over one hundred musicians. It is scored for the following instruments: ;Woodwind: :2 Piccolos :4 Flutes :4 Oboes (4th doubling on Cor anglais) :1 E-flat clarinet :4 Clarinets :1 Bass clarinet :3 Bassoons :1 Contrabassoon ;Strings :2 Harps :16–20 1st Violins :14–18 2nd Violins :12–16 Violas :12–16 cellos :10–14 Double basses ;Keyboard :Celesta ;Brass: :8 Horns :4 Trumpets :3 Trombones :2 Tubas ;Percussion: :6 Timpani (two players) :Bass drum :Snare drum :Cymbals (crash and suspended) :Triangle :Wood block :Castanets :Tam-tam :Xylophone :Glockenspiel The symphony has three movements: Most performances of the symphony last a little over an hour.
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The composition is in one movement and takes approximately 16 minutes to perform. It is scored for a solo piano and a large orchestra consisting of four flutes, four oboes, four clarinets in B-flat, four bassoons, four French horns in F, four trumpets in C, four trombones, one tuba, one harp, timpani, a percussion section consisting of two bongos, three tom-toms and one bass drum and a large string section consisting of sixteen first violins, fourteen second violins, twelve violas, ten cellos and eight double basses. The instruments are not allowed to play vibrato along the whole composition. The tempo of the composition is ♩ ≙ 48 mm, as marked in the score.
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The string section is a body of instruments composed of various bowed stringed instruments. By the 19th century orchestral music in Europe had standardized the string section into the following homogeneous instrumental groups: first violins, second violins (the same instrument as the first violins, but typically playing an accompaniment or harmony part to the first violins, and often at a lower pitch range), violas, cellos, and double basses. The string section in a multi- sectioned orchestra is referred sometimes to as the "string choir." The harp is also a stringed instrument, but is not a member of nor homogeneous with the violin family and is not considered part of the string choir.
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In North America in the 21st century, we classify them as 'treble' viols (soprano), 'tenor' viols (alto range), 'bass' viols (tenor range) and 'great bass' viols, 'violoni' and violones (bass range). When we refer to the historical term 'violone', we must include almost all the instruments of both the violin and viol families (plus some hybrid instruments) that functioned as either tenor or bass members of those families. As the name 'violone' really means (see below), truly, these are all large string instruments. It was not until the 20th century that players and scholars started to realize that there were so many types of violoni and that not all of them functioned or sounded like double basses.
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After the fugue concludes, the piece's themes are all recapitulated in G major, initially begun by a unison orchestra before dividing across echo between orchestra and solo quartet. With the Welsh theme repeating a succession of three times before striking a momentous ƒƒƒ, on which the orchestra is in unison again (see Polyphony), it is this time echoed by the solo quartet, a change from the rest of the piece. The Welsh theme appears in all its splendour in a triumphant coda for the fifth and final time, before ending with a ternary perfect cadence followed by a G major chord in which the whole orchestra plays pizzicato, except for the double basses, who play with their bows.
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Ranged behind the Malay ensemble is the Chinese ensemble of violins and double basses on high harmonics, plucked ‘cellos, piccolos, oboes, clarinets and piccolo clarinet, muted trumpet, harp, and various percussion. After a crescendo bass drum summons, these play a sequence of six slow hymns, such as would have accompanied the bi-annual sacrifices performed at the Temple of Confucius by the emperors of China since 195 B.C. Ching's version is drawn from the "Thirty-one Ceremonial Airs" by the Song dynasty composer Xiong Penglai (ca. 1246 – ca. 1323), who used a wider gamut (a heptatonic scale) and more interesting intervals than were to be allowed in the later Ming and Qing hymns.
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Catalogue of the international exhibition on Giovanni Paolo Maggini held in Brescia in 2007 Virtuosi have also long recognized the exceptional qualities of da Salò's violins, violas, and double basses. In 1842, the Norwegian virtuoso Ole Bull was willed an unplayed, richly-decorated da Salò violin originally made in 1562. Benvenuto Cellini carved the scroll of this spectacular instrument, which is on permanent display as a part of the exhibition "People and Possessions" at Vestlandske Kunstindustrimuesum in Bergen. One of his finest instruments, a double bass with a rapidity of response similar to that of a violin (owned by the 18th - 19th century virtuoso Domenico Dragonetti), is preserved today in the Basilica of San Marco in Venice.
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In the 17th century, pieces scored for large instrumental ensemble did not precisely designate which instruments were to play which parts, as is the practice from the 19th century to the current period. When composers from the 17th century wrote pieces, they expected that these works would be performed by whatever group of musicians were available. To give one example, whereas the bassline in a 19th-century work is scored for cellos, double basses and other specific instruments, in a 17th-century work, a basso continuo part for a sinfonia would not specify which instruments would play the part. A performance of the piece might be done with a basso continuo group as small as a single cello and harpsichord.
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Within an oriental setting in high-walled gardens, the Sulamite, at first sad because of the absence of her loved one, soon feels his approach, calls him, sees him running and collapses finally in his arms in the longed-for ecstasy, among the delighted congratulations of her companions, happy with her good fortune. La Sulamite is scored for a large orchestra of piccolo, 2 flutes, oboe, cor anglais, 2 B flat clarinets, bass clarinet, 4 bassoons; 2 horns in F, 2 horns in E flat, 2 pistons in C, 2 trumpets in F, 3 trombones, tuba; timpani, antique cymbals in E flat, triangle, drum, bass drum, cymbals; 2 harps, violins, violas, cellos and double basses. The work lasts around 17 minutes.
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The company initially manufactured only traditional folk instruments such as mandolins, tenor guitars and banjos, but eventually grew to make a wide variety of stringed instruments, including violins, cellos, double basses and a variety of different types of guitars, including electric, classical, lap steel and semi-acoustic models. Some of Kay's lower-grade instruments were marketed under the Knox and Kent brand names. In addition to manufacturing instruments for sale under its own brands, Kay was also a prolific manufacturer of "house branded" guitars and folk instruments for other Chicago-based instrument makers and, at times, for major department stores including Sears and Montgomery Ward. Kay also made guitar amplifiers, beginning with designs carried over from the old Stromberg company.
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In 1999, he composed a Quintet for the End of the Century ("Quinteto para el Fin del Siglo") and performed the first performances in the same year, with the Arpeggione Quartet (as a piano quintet) and the European Union Chamber Orchestra (as a concerto for piano and string orchestra). His last work was a requiem, entitled "Requiem para un Idiota" (Requiem for an Idiot), for piano (as his own voice), chorus, eight clarinets, eight bassoons, eight contrabassoons and eight double basses. It was premiered after his death, by the Caracas Municipal Symphony Orchestra (Orquesta Sinfónica Municipal de Caracas) on 30 April 2006, conducted by Rodolfo Saglimbeni, with Arnaldo Pizzolante playing the piano part. Both were among the closest friends of Duarte.
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The concerto is in four movements and takes around half an hour to perform. The movement list is as follows: It was scored for three flutes, two oboes, one cor anglais, two clarinets, one bass clarinet, one contrabass clarinet, two bassoons, one contrabassoon, two horns in F, two trumpets in C, two trombones, timpani, a medium-sized percussion group formed by a vibraphone, a bass drum, a glockenspiel, a high-pitched log drum, a marimba, four tom-toms, one tam-tam, tuned gongs, and one large drumset, harp, celesta, and the usual set of strings, made up of twelve first violins, twelve second violins, ten violas, eight cellos, and eight double basses, apart from the main soloist, which is the violin.
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The woodwind add their pleas (dolente), and the music becomes louder and more agitated (gemendo). The horns join the fugue as it reaches its climax, at which point the music disintegrates into fragments and grows softer; but it soon finds its voice again and is worked up into a huge climax in F minor for full orchestra (grandioso) that is strikingly reminiscent of the opening movement of Berlioz's Requiem: center This liberatingJean-Pierre Barracelli (1982), p. 162. climax takes us through a series of sequences from F minor through G minor and G minor to E major. A brief transition ensues in which staccato triplets in the cellos and double basses are answered by static chords in the stopped horns and woodwind.
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If such a bell is not to be used, then a contrabassoon should be employed. All four parts have a very similar instrumentation. The core ensemble of instruments are one piccolo, three flutes (third doubling second piccolo), three oboes, cor anglais (doubling fourth oboe), three soprano clarinets, one bass clarinet, three bassoons; eight horns (fifth through eight doubling Wagner tubas), three trumpets, one bass trumpet, three tenor trombones, one contrabass trombone (doubling bass trombone), one contrabass tuba; a percussion section with 4 timpani (requiring two players), triangle, cymbals, glockenspiel; six harps and a string section consisting of 16 first and second violins, 12 violas, 12 violoncellos, and 8 double basses. Das Rheingold requires one bass drum, one tam-tam, one onstage harp and 18 onstage anvils.
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The dynamic markings added by Wilhelmj are more in line with a romantic interpretation than with the baroque original. As a violin can't play very loudly in its lowest register, all the other parts of Bach's music were firmly reduced in Wilhelmj's version: the keyboard part is to be played staccato and pianissimo, causing the effects of interweaving melodies and of drive in the bass part to get lost. The accompanying violins and violas play muted (con sordino), and the bass part for cellos and double basses is to be played pizzicato and , with the same change in effect compared to Bach's original. Later, a spurious story circulated that the melody was always intended to be played on the G string alone.
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Before joining the New York Philharmonic, O'Brien performed with the New York City Ballet, the Metropolitan Opera, and the American Symphony Orchestra (under Leopold Stokowski, under whom she played the double bass solo as principal bass in the U.S. premiere of Alberto Ginastera's Variaciones Concertantes, in 1962). She performed at the Marlboro Music Festival in the 1960s where she made recordings with Pablo Casals and gave the premiere of Gunther Schuller's Quartet for Double Basses, which was later recorded with Alvin Brehm, Robert Gladstone and Frederick Zimmermann. She formerly taught at YMHA, the Estherwood Summer Musical Festival, and the Institute de Haute Etudes Musicales in Montreux, Switzerland. Orin O'Brien has given masterclasses at the Peabody Institute, the Tanglewood Festival, New England Conservatory, and Yale University.
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The opening of Beethoven's Symphony No. 5, third movement is often used as an orchestral excerpt during bass auditions. In classical music, the bassline is always written out for the performers in musical notation. In orchestral repertoire, the basslines are played by the double basses and cellos in the string section, by bassoons, contrabassoons, and bass clarinets in the woodwinds and by bass trombones, tubas and a variety of other low brass instruments. In symphonies from the Classical period, a single bassline was often written for the cellos and basses; however, since the bass is a transposing instrument, and it is notated an octave higher than it sounds, when cellos and basses play the same bassline, the line is performed in octaves, with the basses an octave below the cellos.
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He conducted the first orchestral electrical recording to be made in America (Saint-Saëns's Danse Macabre) in April 1925. The following month Stokowski recorded Marche Slave by Tchaikovsky, in which he increased the double basses to best utilise the lower frequencies of early electrical recording. Stokowski was also the first conductor in America to record all four of Brahms' symphonies (between 1927 and 1933). Portrait of Stokowski in 1926 Stokowski made the first US recordings of the Beethoven 7th and 9th Symphonies, Antonín Dvořák's New World Symphony, Pyotr Ilyich Tchaikovsky's 4th Symphony and Nutcracker Suite, César Franck's Symphony in D minor, Nikolai Rimsky-Korsakov's Scheherazade, Sergei Rachmaninoff's 2nd Piano Concerto (with the composer as soloist), Jean Sibelius's 4th Symphony (its first recording), Dmitri Shostakovich's 5th and 6th Symphonies, and many shorter works.
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The score calls for a total of over 90 instruments: ;Woodwinds :2 flutes (one doubling piccolo) :2 oboes (one doubling cor anglais) (in movement III, the first oboist plays briefly offstage) :2 clarinets (one doubling E clarinet) :4 bassoons ;Brass :4 horns :2 cornets :2 trumpets :3 trombones :2 ophicleides (modern performances use tubas) ;Percussion :4 timpani (played by two players) :cymbals :snare drum (used in movement IV) :bass drum :bells in C and G ;Strings :2 harps (used in movement II) :Violins I, II :Violas :Celli :Double basses Berlioz specified at least 15 1st violins, 15 2nd violins, 10 violas, 11 celli and 9 basses on the score. Berlioz originally wrote for 1 serpent and one ophicleide, but quickly switched to two ophicleides after the serpent proved to be difficult to use.
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Harris is credited with inventing a simple homemade instrument called the wobble board. As well as his beatboxing, similar to eefing, Harris went on to use an array of unusual instruments in his music, including the didgeridoo (the sound of which was imitated on "Sun Arise" by four double basses), the Jew's harp and, later, the stylophone (for which he also lent his name and likeness for advertising). His version of Led Zeppelin's "Stairway to Heaven", featuring didgeridoo and wobble board, reached the UK top ten in 1993. Harris also recorded a version of Queen's "Bohemian Rhapsody" and performed the Divinyls' "I Touch Myself", accompanied only by his wobble board, for "Denton's Musical Challenge" on MMM radio's Breakfast Show (the recording was released on the first Musical Challenge compilation album in 2000).
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In the score of Antigonae, six grand pianos and a group of xylophones, which were mostly given only marginal tasks in the traditional orchestra, take on the role that the group of strings had in the orchestration of Viennese classical music. Jürgen Maehder: Die Dramaturgie der Instrumente in den Antikenopern von Carl Orff. In: Thomas Rösch (ed.): Text, Musik, Szene – Das Musiktheater von Carl Orff. Schott, Mainz 2015, pp. 197–229. On the other hand, traditional instruments of the European orchestral tradition – such as flutes, oboes, trumpets and double basses – become entrusted in Antigonae and Oedipus der Tyrann with functions that had been reserved to rare percussion instruments in the orchestra of the 19th century: As special timbres with an almost exotic sound appeal, they appear reserved for the turning points of the work’s dramaturgical structure.
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The orchestra's size is about the size employed for early 19th-century opera: 2 flutes (one doubling piccolo), 2 oboes (both doubling oboe d'amore), 2 clarinets, bass clarinet, 2 bassoons, 2 french horns, 2 trumpets, 2 trombones, tuba, percussion (3 players), celesta (doubling synthesizer), 12 violas, 8 celli, 6 double basses. Since the Stuttgart State Opera house was being restored in 1984 and the orchestra pit of the ' at the Stuttgart State Theatre, where the premiere was to take place, was considerably smaller, Glass chose to completely leave out the violins (about 20), giving the orchestra a darker, sombre character, which fits the subject. Apart from this, this was Glass's most "conventional" opera orchestra until then (compared to Einstein on the Beach, written for the six-piece Philip Glass Ensemble, and Satyagraha, scored for woodwinds and strings only).
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The piece is written for two oboes, bassoon, two horns (in A and E), and strings (violins in two sections (four in the final Adagio), violas, cellos and double basses). The turbulent first movement of the work opens in a manner typical of Haydn's Sturm und Drang period, with descending minor arpeggios in the first violins against syncopated notes in the second violins and held chords in the winds. The movement can be explained structurally in terms of sonata form, but it departs from the standard model in a number of ways (just before the recapitulation, for example, new material is introduced, which might have been used as the second subject in the exposition in a more conventional work). Also, the exposition moves to C minor, the dominant minor, rather than the more usual relative major.
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Double bass player Vivien Garry playing a show in New York City in 1947 The double bass is generally tuned in fourths, in contrast to other members of the orchestral string family, which are tuned in fifths (for example, the violin's four strings are, from lowest-pitched to highest- pitched: G–D–A–E). The standard tuning (lowest-pitched to highest-pitched) for bass is E–A–D–G, starting from E below second low C (concert pitch). This is the same as the standard tuning of a bass guitar and is one octave lower than the four lowest-pitched strings of standard guitar tuning. Prior to the 19th- century, many double basses had only three strings; "Giovanni Bottesini (1821–1889) favored the three-stringed instrument popular in Italy at the time", because "the three-stringed instrument [was viewed as] being more sonorous".
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In the Romantic era and the 20th century, composers such as Wagner, Mahler, Busoni and Prokofiev also requested notes below the low E. There are several methods for making these notes available to the player. Players with standard double basses (E–A–D–G) may play the notes below "E" an octave higher or if this sounds awkward, the entire passage may be transposed up an octave. The player may tune the low E string down to the lowest note required in the piece: D or C. Four-string basses may be fitted with a "low-C extension" (see below). Or the player may employ a five-string instrument, with the additional lower string tuned to C, or (more commonly in modern times) B, three octaves and a semitone below middle C. Several major European orchestras use basses with a fifth string.
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A "G violone" by Ernst Busch, in Berlin More shots of the "G violone" by Ernst Busch There are several different instruments that have historically been called by the name "violone". Some of these can be loosely described as 'cello-sized' instruments, and play their parts sounding at the notated pitch. Other types of violone are larger-bodied than the cello (sometimes as large or even larger than modern double basses) – most of those sound their parts an octave below notated pitch, but certain types are flexible about which octave they play in, and sometimes switch back and forth. Ultimately, however, it is not the family or size of the instrument that determines the type, but rather the tuning that is utilized, which generally makes it possible to classify the instrument as a member of either the viol or violin family.
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The term "pedal point" is also used to describe a bass note that is held for a long period in orchestral music, as in the symphonies of Jean Sibelius. Pedal points for orchestral music are often performed by the double basses with the bow, which creates a sustained, organ- like bass tone underneath the changing harmonies in the upper voices. The closing section of the third movement of Johannes Brahms's Ein Deutsches Requiem, "Herr, lehre doch mich" (bars 173–208), features a sustained timpani roll on D natural for over two minutes until resolving in the final chord: Brahms, Requiem, 3rd movement, beginning of the closing section Ernest Newman (1947, p. iii) wrote of the "mixed reception" given to the Requiem, particularly this movement, which "was greeted with many expressions of disapproval; the continual pedal point—intensified by the too vigorous work of the drummer".
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The orchestra consists of 2 flutes, 2 piccolos, 2 oboes, cor anglais, 2 clarinets, bass clarinet, 2 bassoons, contrabassoon, 5 horns, 3 trumpets, 3 trombones, tuba, timpani (five drums in total) with a large percussion section for 3 players as well as 12 first violins, 10 second violins, 8 violas, 6 cellos, 4 double basses. The first percussionist plays glockenspiel, vibraphone (with two double bass bows), triangle, whistle, geophone, whip, tambourine, 1 bodrán, bass drum, 2 Peking gongs. The second percussionist plays the same glockenspiel as the first percussionist, tubular bells, the same geophone as the first percussionist, 5 wood blocks (graded), anvil, snare drum and suspended cymbal. The third percussionist plays 2 chromatic octaves of crotales (with two double bass bows), 5 tuned gongs (one large, three medium and one small), güiro, vibraslap, 1 metal sheet, tenor drum, a pair of crash cymbals and tam-tam.
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A typical symphony at this time was written for a pairs of oboes and horns and strings, but the Eisenstadt orchestra had recently taken on two new horn players, and Haydn wrote this symphony for an expanded ensemble of one flute, two oboes, four horns, timpani and strings (violins divided into firsts and seconds, violas, cellos and double basses), with bassoon doubling the bass-line. The timpani part in the autograph score is not in Haydn's hand, but it is quite possibly authentic: he may have written it on a separate sheet, with somebody else adding it to the score at a later date. #Allegro molto, #Adagio cantabile in G major, #Menuet & Trio (Trio in G major), #Finale. Allegro molto, The first movement opens with held chords in the winds and the strings playing a simple figure based on an arpeggio: :Image:Haydn- symph-13-opening.
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The bassoons often double the celli and double basses, and provide harmonic support along with the French horns. Edgar Degas, L'Orchestre de L'Opera, (1868) A wind ensemble will usually also include two bassoons and sometimes contrabassoon, each with independent parts; other types of concert wind ensembles will often have larger sections, with many players on each of first or second parts; in simpler arrangements there will be only one bassoon part (sometimes played in unison by multiple bassoonists) and no contrabassoon part. The bassoon's role in the concert band is similar to its role in the orchestra, though when scoring is thick it often cannot be heard above the brass instruments also in its range. La Fiesta Mexicana, by H. Owen Reed, features the instrument prominently, as does the transcription of Malcolm Arnold's Four Scottish Dances, which has become a staple of the concert band repertoire.
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As a member of the Philadelphia Orchestra, Miss Phillips was thrown into a grueling schedule of performing and recording, everything from Bach to Schoenberg, many in Stokowski’s orchestrations, which he would revise on the spot in rehearsals, as well as the latest contemporary scores. She had to learn how to sight-read anything. She performed as a member of the orchestra from 1930 to 1946, with Marjorie Tyre as second harpist. Miss Phillips was the first woman in the orchestra, and as a newspaper headline noted, she “added a feminine touch to the right hand front of the ensemble.” (Stokowski generally preferred to place the harp at the front of the stage, near the double-basses, or sometimes on the left.) In 1937, one of many times Miss Phillips performed as soloist with the Philadelphia Orchestra, she played the Chorale et Variations by Charles Widor. The Philadelphia Ledger recorded on March 16, that she “played superbly Widor’s beautiful Chorale and Variations for harp and orchestra.
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In addition to a somewhat standard instrumentation, the ballet also requires the use of the tenor saxophone. This voice adds a unique sound to the orchestra as it is used both in solo and as part of the ensemble. Prokofiev also used the cornet, viola d'amore and mandolins in the ballet, adding an Italianate flavor to the music. Full instrumentation is as follows: ;Woodwinds: :1 piccolo :2 flutes :2 oboes (2nd doubling on 2nd English horn) :2 clarinets (2nd doubling on E-flat clarinet) :1 bass clarinet :1 tenor saxophone :2 bassoons :1 contrabassoon ;Brass: :6 horns :3 trumpets :1 cornet :3 trombones :1 tuba ;Percussion: :Timpani :Snare drum :Xylophone :Triangle :Woodblock :Maracas :Glockenspiel :Tambourine :Chime in A :Cymbals :Bass drum ;Keyboards: :Piano :Celesta :Organ ;Plucked strings :2 mandolins :2 harps ;Bowed strings: :Viola d'amore (or solo viola) :First and second violins :Violas :Violoncellos :Double basses The score is published by Muzyka and the Russian State Publisher.
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Phaidon Press Limited. . Landowska was responsible for the composition of several other new pieces of music for the instrument, notably Manuel de Falla's harpsichord concerto and his El retablo de Maese Pedro (at the premiere of which, at the salon of Winnaretta Singer, Poulenc and Landowska met for the first time). After a private performance in which Poulenc played the orchestral parts on the piano, the piece's public premiere was on May 3, 1929 at the Salle Pleyel in Paris, with Landowska playing the solo part and the Orchestre Symphonique de Paris conducted by Pierre Monteux. The work is scored for an orchestra of two flutes, piccolo, two oboes, cor anglais, two clarinets, two bassoons, four horns, two trumpets, trombone, tuba, timpani, side drums (with and without snares), tambourine, triangle, bass drum, cymbals, xylophone, and strings (the usual two sections of violins, violas, cellos and double basses—Poulenc stipulates eight each of first and second violins, and four each of violas, cellos and basses).
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Ustvolskaya developed her own very particular style, of which she said, "There is no link whatsoever between my music and that of any other composer, living or dead." Among its characteristics are: the use of repeated, homophonic blocks of sound, which prompted the Dutch critic Elmer Schönberger to call her "the lady with the hammer"; unusual combinations of instruments (such as eight double basses, piano and percussion in her Composition No. 2); considerable use of extreme dynamics (as in her Piano Sonata No. 6); the employment of groups of instruments to introduce tone clusters; sparse harmonic textures; and the use of piano or percussion to beat out regular unchanging rhythms (all of her acknowledged works use either piano or percussion; many use both). The music of Galina Ustvolskaya is not "avant-garde" in the commonly accepted sense of the term and for this reason was not openly censured in the USSR. However, she was accused of being unwilling to communicate and of "narrowness" and "obstinacy".
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In addition to the traditional orchestral bodies of the 19th-century symphony, the Third Symphony makes use of a greatly expanded percussion section (which is prominently featured in the second movement). Winds: 1 piccolo, 2 flutes, 2 oboes, 1 English horn, 3 clarinets in Bb (1st doubling clarinet in A, 2nd doubling clarinet in Eb), 1 bass clarinet in B, 3 bassoons, 1 contrabassoon Brass: 5 horns in F, 3 trumpets in C, 1 bass trumpet in C, 4 trombones, tuba Strings: 16 first violins, 14 second violins, 12 violas, 12 violoncellos, 10 double basses, all the strings are divisi. Percussion: Timpani, triangle tree, bell tree, pair of cymbal, tamtam, bongos, tomtom, rototom, timbales, snare drum, military drum, tenor drum, bass drum with cymbal, whip, wood block, guiro, glockenspiel, xylophone, marimbaphone, tubular bells, and celesta (only used in the third and fifth movements). The score calls for nine percussion players in total (not including timpani).
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On guitars and lutes, the bridge can be flat, because the strings are played by plucking them with the fingers, fingernails or a pick; by moving the fingers or pick to different positions, the player can play different strings. On bowed instruments, the need to play strings individually with the bow also limits the number of strings to about six or seven strings; with more strings, it would be impossible to select individual strings to bow. (Note: bowed strings can also play two bowed notes on two different strings at the same time, a technique called a double stop.) Indeed, on the orchestral string section instruments, four strings are the norm, with the exception of five strings used on some double basses. In contrast, with stringed keyboard instruments, 88 courses are used on a piano, and even though these strings are arranged on a flat bridge, the mechanism can play any of the notes individually.
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The work is scored for a large orchestra consisting of the following instrumentation. The movements vary in the combinations of instruments used. Woodwinds :4 flutes (third doubling first piccolo and fourth doubling second piccolo and "bass flute in G", actually an alto flute) :3 oboes (third doubling bass oboe) :1 cor anglais :3 clarinets in B and A :1 bass clarinet in B :3 bassoons :1 contrabassoon Brass :6 horns in F :4 trumpets in C :2 trombones :1 bass trombone :1 tenor tuba in B (often played on a euphonium) :1 tuba ;Percussion :7 timpani (2 players) :Bass drum :Snare drum :Cymbals :Triangle :Tam-tam :Tambourine :Glockenspiel :Xylophone :Tubular bells ;Keyboards :Celesta :Organ ;Strings :2 harps :Violins I, II :Violas :Cellos :Double basses In "Neptune", two three-part women's choruses (each comprising two soprano sections and one alto section) located in an adjoining room which is to be screened from the audience are added.
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The longest running point of contention is the refusal by the Opera House Trust to allow the orchestra to drill small holes into the concert hall stage to allow proper seating of the endpins (spikes on the bottom) of their cellos and double basses, which is believed to give a better resonance to these instruments. The orchestra seats their endpins in planks of wood placed on the stage, as the Opera House Trust maintains that the entire building is heritage-listed under Australian law and that such work would therefore be illegal. Edo de Waart was particularly critical of this during his tenure as Chief Conductor in the 1990s, arguing in the press that the building had been specifically constructed for the orchestra and that it was a scandal that the orchestra was being forced to accept a reduced sound quality. However, the Opera House Trust has refused to bend and as of 2012 the orchestra was still using the planks of wood.
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This unusual composition takes 10 minutes to perform. It is score for a very large and powerful set of instruments. The list of instruments used in this piece is as follows: ;Woodwinds :4 flutes :4 oboes :3 clarinets in B :baritone saxophone :contrabass clarinet in B :3 bassoons :contrabassoon ;Brass :6 horns in F :4 trumpets in B :4 trombones :tuba ;Percussion :musical saw :vibraphone :bells I :bells II :4 timpani :2 bongos :bass drum :claves :5 wood blocks :ratchet :guiro :whip :4 cowbells :triangle :6 cymbals :2 gongs :gong ageng :2 tam-tams ;Other :bass guitar :harp :harmonium :piano ;Strings :solo violin :24 violins :10 violas :10 cellos :8 double basses The composition has no tempo marking at the beginning, even though the last bars are marked as Tempo di Valse. It is mentioned in the score that two or three of the bells from the second bell set should be made of 24-karat gold.
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A standard string orchestra of violins, violas, cellos, double basses is augmented by a percussion battery of one timpanist and four members, who play the following: Player 1: marimba, vibraphone, castanets, three cowbells, four bongos, tubular bells, snare drum, guiro Player 2: vibraphone, marimba, snare drum, tambourine, two woodblocks, claves, triangle, guiro Player 3: glockenspiel, crotales, maracas, whip, snare drum, choclo, guiro, three temple blocks, bass drum, tam-tam, snare drum, triangle Player 4: cymbals, bass drum, tam-tam, hi-hat, triangle, tambourine, five tom-toms Two factors influenced Shchedrin in choosing this instrumentation. The first, he said in an interview with BBC Music Magazine, was that, "to be [as] totally far [as possible]" from Bizet's scoring for the opera, he wanted an ensemble "without brass and woodwind... that gave me many possibilities" for timbral variety. The second was the high level of string and percussion players then available in the Bolshoi orchestra.Duchen, BBC Music Magazine.
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The work is scored for a large orchestra: ;Woodwinds :piccolo :3 flutes :3 oboes :English horn :2 clarinets in B :D clarinet1 :bass clarinet :3 bassoons :contrabassoon ;Brass :4 horns in F and E :4 horns in D (ad libitum)2 :3 trumpets in F and C :3 trumpets in D (ad libitum)2 :3 trombones :tuba ;Percussion :timpani :bass drum :snare drum :cymbals :triangle :large ratchet ;Strings :violins I, II :violas :cellos :double basses 1Although the original score calls for a clarinet in D, the part is usually played on an E clarinet as the D clarinet is now rarely played. 2Strauss indicates four extra horns and three extra trumpets to be added ad libitum. The parts are to be played by separate players from the original four horns and three trumpets. There also exists a version for piano four-hands, which has been recorded by Percy Grainger and Ralph Leopold.
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There are two manuscript scores of the symphony, one lacking the third movement and with a somewhat larger instrumentation than the later manuscript (and published) version. It is scored for (1) an orchestra consisting of: piccolo, 2 (or 4) flutes, 2 oboes, cor anglais, 2 (or 4) clarinets, bass clarinet, 3 bassoons, contrabassoon, 4 (or 8) horns, 4 trumpets (or cornets), 4 trombones, tuba, 4 timpani, tam-tam, cymbals, matracas, 2 (or 4) bass drums, 2 (or 4) side drums, (xylophone), celesta, 2 harps, piano, and strings, (2) a small brass band consisting of piccolo bugle in E, 2 bugles in B, 4 cornets, 4 trombones, 2 alto saxhorns, 2 bass saxhorns, 2 contrabass saxhorns in B, and 2 contrabass saxhorns in E, and (3), in the last movement, an optional mixed chorus. The earlier, three- movement version also specified the numbers of stringed instruments: 26 first violins, 24 second violins, 12 violas, 12 cellos, and twelve double basses, bringing the total number of orchestral players to 164, surpassing the gigantic orchestras called for by Richard Strauss in Elektra and Salome .
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This suite for orchestra is divided into four movements and takes around 14 minutes to perform. The scoring can be divided into three groups: first, a full orchestra (two flutes, two piccolos, two clarinets in B-flat, a bassoon, two horns, a trumpet in C, a large percussion section consisting of a xylophone, a glockenspiel, a side drum, a woodblock, a tambourine, four tom-toms, claves, two suspended cymbals, a hi-hat, two large tam-tams and two very large tam- tam, and a string section consisting of twelve first violins, twelve second violins, eight violas, eight cellos, and four double basses); then, an amplified solo group consisting of an oboe, a cor anglais, a trumpet in B-flat, a harp, a celesta, and a piano; finally, an off-stage string quintet consisting of two violins, a viola, and two cellos. The movement list is as follows: The general tone of the suite is sensual and atmospheric. Tempo variations are frequent in the dances, but the tempo is generally slow and calm in the first and third movements.
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These motifs form a substantial part of the melodic material of the piece: the setting of "Bugles sang" is composed almost entirely of variations of them. Another linking feature can be found in the opening of the final movement, Libera Me, where the slow march tune in the double basses (preceded by two drums outlining the rhythm) replicates the more-rapid opening theme of the first poem, Anthem for Doomed Youth. One striking juxtaposition is found in the Offertorium, a fugue in the repeating three-part-time scheme , , where the choir sings of God's promise to Abraham ("Quam olim Abrahae promisisti, et semini eius" – "which you once promised Abraham and his seed"). This frames Owen's retelling of the offering of Isaac, in which the angel tells Abraham to: As the male soloists sing the last line repeatedly, the boys sing "Hostias et preces tibi, Domine" ("Sacrifice and prayers we offer thee, Lord"), paralleling the sacrifice of the Mass with the sacrifice of "half the seed of Europe" (a reference to World War I). The "reprise" of "Quam olim Abrahae" is sung in inversion, diminuendo instead of crescendo.
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Kennedy and J. Bourne Kennedy (Eds.), The Concise Oxford Dictionary of Music (Oxford University Press, London 2007). a hybrid of the two forms that had occupied most of Mahler's creative life. Das Lied von der Erde is scored for a large orchestra, consisting of the following: ;Woodwinds :piccolo :3 flutes (3rd doubling 2nd piccolo) :3 oboes (3rd doubling cor anglais) :3 B clarinets :E clarinet :bass clarinet :3 bassoons (3rd doubling contrabassoon) ;Brass :4 horns :3 trumpets :3 trombones :tuba ;Percussion :4 timpani (used only in "Von der Schönheit") :bass drum :snare drum :cymbals :triangle :tambourine (used only in "Von der Schönheit") :tam-tam (used only in "Der Abschied") :glockenspiel ;Keyboards :celesta (used only in "Der Abschied") ;Voices :alto solo :tenor solo ;Strings :mandolin :2 harps :1st violins :2nd violins :violas :cellos :double basses (with low C string) Only in the first, fourth and sixth songs does the full orchestra play together. The celesta is only heard at the end of the finale, and only the first movement requires all three trumpets, with two playing in the fourth movement and none playing in the sixth.
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Largely occurring at the same time as the "New Orleans Traditional" revival movement in the United States, traditional jazz music made a comeback in the Low Countries. However, most Dutch jazz bands (such as The Ramblers) had long since evolved into the Swing-era while the few remaining traditional jazz bands (such as the Dutch Swing College Band) did not partake in the broader traditional revival movement, and continued to play ragtime and early jazz, greatly limiting the number of bands aspiring jazz musicians could join or (as they were using instruments unavailable to most Dutch musicians such as double basses and the piano) were forced to improvise, resulting in a new form of jazz ensemble generally referred to "Oude Stijl" ("Old Style") jazz in Dutch. Influenced by the instrumentation of the two principal orchestral forms of the wind band in the Netherlands and Belgium, the "harmonie" and the "fanfare", traditional Dutch jazz bands do not feature a piano and contain no stringed instruments apart from the banjo. They include multiple trumpets, trombones and saxophones accompanied by a single clarinet, sousaphone and a section of Marching percussion usually including a washboard.
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Concentrating on an ensemble of percussion instruments with a specific and indefinite pitch, originally certainly born out of the fascination that the orchestra's only still evolving group exercised on 20th-century composers, appeared to be a veritable patent solution for a composer for whom the creation of purely diastematic organizations had never been a central concern. The idea of a differentiated cooperation based on the division of labor, which has distinguished the orchestra of Western art music that has grown organically over the centuries, in the orchestra of Orff's operas on Greek Antiquity appears transposed onto instrument constellations that were previously unknown to European art music. In the score of Prometheus, the six pianos and the xylophones, which in the traditional orchestra were only given marginal tasks, take on the role that the string body had in the orchestration of Viennese classical music. On the other hand, the basic instruments of the traditional European symphony orchestra – such as flutes, oboes, trumpets and double basses – become entrusted in Orff's scores with functions that had been the realm of the rare percussion instruments in the 19th-century orchestra tradition.
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On the birth registration of his daughter he described himself as a "painter of history". After some not very happy attempts at religious painting, he returned, under the influence of , to the class of work he was born to excel in, and exhibited with much success the Game of Chess (1841), the Young Man playing the 'Cello (1842), Painter in his Studio (1843), The Guard Room, the Young Man looking at Drawings, the Game of Piquet (1845), and the Game of Bowls, works which show the finish and certainty of his technique, and assured his success. Meissonier became known as the French Metsu, a reference to the seventeenth-century Dutch painter Gabriel Metsu, who specialised in miniature scenes of bourgeois domestic life; "grandiose history paintings did not sell as readily as smaller canvases such as landscapes or portraits, which fitted more easily onto the walls of Paris apartments". He specialised in scenes from seventeenth- and eighteenth-century life, portraying his bonshommes, or goodfellows - playing chess, smoking pipes, reading books, sitting before easels or double basses, or posing in the uniforms of musketeers or halberdiers [-] all executed in microscopic detail.
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Throughout the work the composer explores resonances inherent in a ‘cluster’ harmony which is introduced in horizontal form at the very outset of the work – a very dramatic opening from the bassoons, cellos and double basses, characterised by a heavy, accented dotted rhythm and the upward leap of a fifth and descent by a sixth. The notes of this theme, if spaced out in a single octave, contained every semitone from A up to D. The top three notes (C, C sharp, and D) are of great importance to the work, and each dominates in turn – C at the beginning, D in the middle, and C sharp at the end. The cluster is unravelled and explored in various ways, and a characteristic sonority results: spaced out over several octaves through the orchestra, a major third glitters over the top of a dissonant cluster. The careful scoring and conflicting registers of the sonority presented near the opening including a major third high in the winds (B flat-D) which holds within its span a whole tone (B natural-C sharp) presented low in the basses and cellos.
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An Alpine Symphony is scored for a large orchestra consisting of: ;Woodwinds :4 flutes (3rd and 4th doubling piccolos) :3 oboes (3rd doubling English horn) :1 heckelphone :1 clarinet in E :2 clarinets in B :1 bass clarinet (doubling clarinet in C) :4 bassoons (4th doubling contrabassoon) ;Brass :8 French horns (horns 5–8 double Wagner tubas) :4 trumpets :4 trombones :2 tubas :12 offstage horns :2 offstage trumpets :2 offstage trombones ;Percussion : timpani (2 players) :snare drum :bass drum :cymbals :triangle :tam-tam :cowbells :wind machine :thunder machine :glockenspiel ;Keyboard :celesta :organ ;Strings :2 harps :18 violins I :16 violins II :12 violas :10 cellos :8 double basses Strauss further suggested that the harps and some woodwind instruments should be doubled if possible and indicated that the stated number of string players should be regarded as a minimum. The use of "Samuel's Aerophon" is suggested in the instrumentation listing. (Strauss probably misunderstood the name – it was originally called the Aerophor.) This long-extinct device, invented by Dutch flautist Bernard Samuels in 1911 to assist wind players in sustaining long notes without interruption, was a foot-pump with an air-hose stretching to the player's mouth.Del Mar, Richard Strauss, 107.
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The first and second violins weave curly parallel melodic lines, a tenth apart, underpinned by a pedal point in the double basses and a sustained octave in the horns. Wind instruments respond in bars 104-5, accompanied by a spidery ascending chromatic line in the cellos.Symphony 39, first movement, bars 102-119 Symphony 39, first movement, bars 102-105A graceful continuation to this features clarinets and bassoons with the lower strings supplying the bass notes.Symphony 39, first movement, bars 106-109Next, a phrase for strings alone blends pizzicato cellos and basses with bowed violins and violas, playing mostly in thirds:Symphony 39, first movement, bars 110-114The woodwind repeat these four bars with the violins adding a counter-melody against the cellos and basses playing arco. The violas add crucial harmonic colouring here with their D flat in bar 115. In 1792, an early listener marvelled at the dazzling orchestration of this movement “ineffably grand and rich in ideas, with striking variety in almost all obbligato parts.”Symphony 39, first movement, bars 115-119“The main feature in [his] orchestration is Mozart’s density, which is of course part of his density of thought.” Robbins Landon, H. (1989, p.137), Mozart, the Golden Years.
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Gavin Bryars playing the double bass, the instrument for which he includes an improvising part in Doctor Ox and which he played in performances of Doctor Ox's Experiment (Epilogue) The opera is scored for 2 flutes, the second doubling piccolo, 2 oboes, 1 doubling oboe d'amore, and the other doubling cor anglais, a clarinet and bass clarinet, a bassoon and contrabassoon, 4 horns, a flugelhorn, 4 trombones, a bass trombone, 1 timpanist, 3 percussionists, harp, electronic keyboard doubling piano and a string section consisting of at least six each first and second violins, 5 violas, four cellos and 3 double basses, including at least one bass with a 5th string or low extension, plus an improvising jazz player on amplified bass. The percussion consists of marimba, vibraphone, glockenspiel, crotales, tubular bells, cow bells, bass drum, tam-tam, sizzle cymbal, suspended cymbal, mark-tree, Chinese bell-tree and wind-machine. Bryars wanted the scenes with the lovers to "have something of the purity of early music" and pointed to the obbligato oboe d'amore and the "relatively light orchestral textures" as means by which he achieved this. The improvisation by the amplified jazz bass is confined to the scene by the Vaar though the instrument is also used in the epilogue.
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Become Ocean is scored for a large orchestra divided into 3 spatially-separated groups: ;First group :upstage right, as far as possible from the strings and brass :3 flutes :3 oboes, 3rd doubling English horn :3 clarinets, 3rd doubling bass clarinet :3 bassoons, 3rd doubling contrabassoon :Percussion I, including ::marimba ::vibraphone ::crotales :harp I ;Second group :upstage left, as far as possible from the strings and woodwind :4 horns :3 trumpets :3 trombones :tuba :Percussion II, including ::marimba ::vibraphone :harp II ;Third group :in a wide as possible arc across the stage :Percussion III, including ::3 bass drums ::tam-tam ::suspended cymbal ::timpani :celesta :piano :violins 1A, 1B, 2A, and 2B :violas 1 and 2 :cellos 1 and 2 :double basses 1 and 2, the E-strings tuned down a whole-tone to D Each group is given slowly moving sequences of sound, often in the form of arpeggios for the strings, and each block has its own rise and fall. Thus the groups overlap in an ever-changing pattern. Harmonies are fundamentally tonal; simple diatonic intervals form the basis of the wind instruments' staggered chords. The phrase lengths are constructed so that there are three moments when all the groups reach a climax together; the first is early on, and the second represents the greatest surge of sound.
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The symphony is scored for a very large orchestra: Distant choir ensemble, offstage : harp : 5 violins Woodwinds : piccolo : 3 flutes : 2 oboes : 3 clarinets in B (the 1st clarinet optionally playing A in the first movement) : tenor saxophone in B : baritone saxophone in B : 2 bassoons Brass : 4 horns in F : 6 trumpets in C : cornet in C (played by 5th trumpet) : 4 trombones : tuba Percussion : xylophone (optional) : 2 bells, high and low : timpani : triangle : Indian drum : piccolo timpano : snare drum : bass drum : cymbals : 2 tam-tams, light and heavy : B.U. Ensemble (spatially separated from the main orchestra): :: snare drum :: Indian drum :: bass drum :: cymbals :: tam-tam Chorus : sopranos : altos : tenors : basses Keyboards : celesta : Ether organ (optional) : quarter-tone piano : orchestral piano (4-hands) : solo piano : organ Strings : violins I, 12 to 18 players : violins II, 12 to 16 players : violas, 12 to 14 players : cellos, 10 to 12 players : double basses, 8 to 10 players : "extra" strings, on or off stage: :: violins, 2 players :: viola, 1 player The mixed chorus performs a setting of the hymn "Watchman" in the first movement and a wordless intonation of the hymn "Bethany" in the last movement. The first and last movements employ a spatially-separated ensemble of 5 violins and harp. The last movement employs a spatially-separated group of percussion.
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